We’re excited to introduce you to the always interesting and insightful Tony Rodriguez. We hope you’ll enjoy our conversation with Tony below.

Alright, Tony thanks for taking the time to share your stories and insights with us today. Have you signed with an agent or manager? Why or why not?

During my time in grad school, I often heard unsettling tales about illustration agencies, with individuals recounting various misfortunes and disappointments. Surprisingly, these narratives failed to significantly sway my perspective. I believed that by exercising caution in selecting the right agency to affiliate with, it could indeed be a beneficial move for advancing my career. Prior to reaching out to any potential agency, I took a moment to introspect and pondered several crucial questions regarding what I sought in an agent.

The foremost query I posed to myself was: “What constitutes the industry standard regarding the percentage an agent typically takes from each job?” I came to understand that if an agency’s cut exceeded 25 percent, it was prudent to steer clear of such an arrangement.

Secondly, I deliberated over whether I desired an agent who would claim a portion of the earnings from jobs I secured independently, without their involvement in procuring the client. Personally, I found this type of arrangement undesirable, as it fosters little incentive for the agent to actively advocate for the illustrator. In such a structure, the agency may simply rely on the illustrator to undertake all the labor-intensive tasks, such as sending out mailers, contacting clients, and networking. Hence, I advise against committing to long-term agreements with agencies that seek to claim a share of earnings from both existing and new clients secured independently by the illustrator. Ideally, agencies should only receive a percentage from the work they actively secure for the illustrator.

The third question I pondered was the duration of the contract I should commit to when engaging with an agent. I recommend avoiding lengthy contracts that bind you to an agency for 3-5 years. Allotting a year for evaluation allows sufficient time to assess whether the agent’s services align with your career objectives.

The fourth question I contemplated before affiliating with an agency was whether I preferred to join a well-established, reputable agency boasting decades of experience and a roster of distinguished illustrators, or opt for a newer, smaller agency. While I refrain from advocating for either option, it’s worth considering personal preferences in this regard. Personally, I sought a more intimate relationship with my agent and hence chose to affiliate with a newer, smaller agency. I reasoned that such an agency might display greater drive and provide more personalized attention.

These are the inquiries I suggest aspiring illustrators contemplate. However, equally important are the questions you should pose to your potential agent before signing any agreements. It’s crucial to understand your agency’s work practices and methodologies.

Firstly, inquire about the frequency of mailers sent on behalf of illustrators on their roster. A well-defined strategy in this aspect is vital, as it forms part of the justification for the agency’s commission.

Secondly, ascertain whether the agency submits entries to competitions on behalf of its artists. While not a service my own agent provided, it’s a commendable practice adopted by some agencies and could significantly benefit illustrators.
Thirdly, inquire about the agency’s approach to obtaining client lists and contact information. Additionally, seek clarification on their frequency of client outreach efforts. Request examples of newsletters sent to artists as well as prospective and repeat clients. Details such as the quality of newsletters can shed light on the agency’s professionalism and attention to detail.

Lastly, inquire about the mechanism for submitting new work to your agent. For instance, my agent employs a drive folder system categorized into different sections for efficient organization and updating of portfolios.

Overall, my experience with my agent, Katherine Moore, the owner/founder of Sullivan Moore Illustration Agency, has been exceptionally positive. She fulfilled all these criteria, and I believe that many of the horror stories surrounding agencies stem from young, emerging illustrators failing to conduct thorough research and ask pertinent questions before entering into contracts. An illustration agent can indeed be a valuable asset. Having someone advocate on your behalf is immensely helpful, and being represented by an agent enhances your professional credibility and desirability in the eyes of potential clients. When considering hiring an illustrator, an art director perceives representation as a testament to your talent and reliability, thereby mitigating perceived risks.

I trust this guidance proves beneficial!

Great, appreciate you sharing that with us. Before we ask you to share more of your insights, can you take a moment to introduce yourself and how you got to where you are today to our readers.

My name is Tony Rodriguez, and I work as an illustrator for magazines, newspapers, and Gallery 1988 in LA, specializing in pop culture art. Beyond my childhood dreams of becoming a ninja or cowboy, my father fostered my belief in pursuing art as a career. However, my understanding of illustration truly blossomed during my time in SCAD Savannah’s Rising Star program, where I discovered my passion for drawing.

My creative process typically begins with a simple round brush in Photoshop, a technique I adopted in 2011 inspired by Joe Ciardiello’s pen and ink work. Even today, I enjoy replicating his style digitally, striving for the precision of a Rapidograph. Similarly, my approach to color is straightforward, employing flat colors for optimal blending. My ideation process is a fluid amalgamation of various techniques acquired over the years, where thoughts manifest as doodles and vice versa.

In the realm of Editorial illustration, I’ve developed a distinct style, though my approach to ideation remains adaptable. Each project presents a unique challenge, often starting with the task of capturing a person’s likeness. From there, I construct a narrative or concept around the portrait.

Before honing my style, I researched potential clients, aiming for publications like Rolling Stone and The New Yorker. Emulating artists such as Patrick Morgan and Joe Ciardiello, I addressed my weaknesses, particularly in directly copying photographs. Through rigorous practice, I refined my ability to capture likeness without sacrificing stylization.

Consistency is paramount in Editorial work, necessitating efficient time management. To meet deadlines, I meticulously track the time required for each illustration, evolving my process to accommodate tight schedules.

I consider myself part of a diverse community of digital artists, drawing inspiration from fellow creatives while exploring common themes. My style often navigates the space between caricature and realism, inviting viewers to pause and ponder. Like jazz music with its eclectic influences, my illustrations offer a nuanced blend of styles, challenging categorization and engaging the viewer’s imagination.

In essence, I aspire to create artwork that prompts reflection and intrigue, leaving a lasting impression on those who encounter it.

Are there any resources you wish you knew about earlier in your creative journey?

I wish I had received more formal education on registering my business, filing taxes, and implementing budgeting strategies.

For illustrators, I highly recommend forming LLCs and establishing dedicated bank accounts for their illustration businesses. This not only shields you from legal liabilities but also provides clarity on your business’s financial performance, as the financial statements remain separate from personal finances.
Additionally, I suggest applying online for Employee Identification Numbers (EIN) through the IRS website. This is essential for tax purposes and the application process is free.

It’s advisable for all illustrators to seek legal counsel or consult with tax professionals for comprehensive guidance.

Budgeting for taxes should be a regular part of an illustrator’s routine. Here’s a step-by-step guide to help you navigate tax obligations effectively:

Understand Your Tax Obligations: As a self-employed illustrator, you’re responsible for federal income taxes, self-employment taxes (Social Security and Medicare), and potentially state and local taxes.

Income Taxes: Report earnings from illustration work on Schedule C (Profit or Loss from Business) of Form 1040 for federal income tax purposes.

Self-Employment Taxes: Calculate and report self-employment taxes on Schedule SE (Self-Employment Tax) of Form 1040.

Business Expenses: Deduct eligible expenses such as art supplies, software subscriptions, studio rent, travel expenses, marketing costs, and professional fees on Schedule C to reduce taxable income.

Health Insurance Deduction: Self-employed individuals, including illustrators, can deduct health-related expenses for themselves, spouses, and dependents, typically as an adjustment to income on Form 1040.
Track Income and Expenses: Maintain detailed records of income and business-related expenses using accounting software, spreadsheets, or other organizational tools.

Calculate Taxable Income: Subtract business expenses from total income to determine taxable income, which is the basis for income tax calculations.

Consult with a Tax Professional: If unsure about tax planning or budgeting, seek guidance from a tax professional specializing in self-employment. They can offer personalized advice and simplify complex tax matters tailored to your situation.

In summary, while tax planning may seem daunting, consulting with a professional can provide clarity and ensure compliance with tax regulations tailored to your specific circumstances.

Is there a particular goal or mission driving your creative journey?

I aspire to continuously improve in my craft. Embracing the uncertainty of my potential growth is exhilarating. Comparing where I am now to five years ago, I feel a sense of progress that fuels my excitement and curiosity for the next five years. I wonder when I’ll reach my peak, or if such a point even exists. Despite occasional weariness, art remains an intrinsic part of me, cultivated since childhood. The encouragement I received fueled my belief that it’s my life’s calling.

Maintaining financial stability through art and teaching is a privilege I don’t take for granted. Many are forced to abandon their dreams, but I’m grateful for the freedom to continue pursuing mine. The need to support my family, alongside a genuine desire to enhance my skills, propels me forward. I often jest with my students, claiming I’d either be an illustrator or a Walmart greeter—no middle ground for someone of my limited intelligence. These motivations keep me going, steadfast in my dedication to the craft.

Contact Info:

• Website: https://www.tonyrodriguezillustration.com/
• Instagram: @tonyrodriguezillustration
• Facebook: https://www.facebook.com/tonyrodriguezillustration/
• Linkedin: https://www.linkedin.com/in/tonyrodriguezillustration/
• Twitter: https://twitter.com/rodriguezdraws?lang=en

Image Credits
All illustration copyright Tony Rodriguez Illustration 2024