In defense of art directors
Occasionally, design is sacrificed for the sake of content. Altering an editorial illustration sucks, but I think designers should stop being so protective of their “art.”
Content > illustration
Editorial illustration is one of my favorite forms of client work. It’s fun and challenging, not to mention great exposure. But all too often illustrators treat editorial assignments like personal projects. They argue that any changes made to their design alter its integrity, and the audience won’t appreciate the overall piece as much. The hard truth is that editorial illustration elevates content, but is not content in and of itself.
It takes a while to trust an art director and it’s totally normal to struggle with directions like, “thicker lines” or “fewer colors” or “combine these two concepts into one,” but the bottom line is that ADs (generally) always know what they’re talking about. Sometimes it’s not a matter of what looks best, but what fits the client’s needs. Does the illustration work on a phone screen, as well as a magazine page? Do the artist’s colors match the overall theme of this issue? Is the art distracting from the story? These are the types of questions art directors have to ask before, during and after the design has been commissioned. If an illustration is compromised, you can bet there’s reasonable rationale.
If you feel really strong about a color change or cropping decision you should always feel free to say something — it’s very possible your AD is on the fence and needs help making a decision. But learn to pick your battles, especially if your preference leans more superficial. Is your suggested change really worth the next assignment you would have gotten if you’d been easier to work with?
A good example
In my experience, art directors are far less likely to make last-minute changes to an editorial illustration if its creator (1) includes multiple concepts in the initial proposal, as well as (2) a brief sentence about why each concept will work. It’s more important to convey your understanding of the content than your ability to create a nice illustration; we already know you’re a good illustrator (that’s why we hired you!), so spend more time on the pitch than the sketch. Not only will this help your AD make a clear decision about the direction of your work, it will also prove your thoughtfulness and instill trust.
We recently commissioned Micah Smith to design some header art for a story on college football recruits. Micah made it clear which design was his favorite, but acknowledged his flexibility right away:
I like both, but my favorite is the letterman jacket using the contiguous 48 instead of a high school’s monogram. The layered graph-oriented one would complement the article well too. I’m just leaning towards the jacket. I think we could add some little touches to either that could send them both over the top…happy to incorporate anything that may come to mind.
While the letterman jacket was subjectively more fun than the map (the assigning AD and I shared Micah’s preference), it was determined that the map was a quicker read and that its arrows and circles could be reused throughout the piece.
To be fair, Micah’s the consummate pro; through multiple editorial assignments, he’s earned our trust, so apart from picking the initial sketch there was virtually no direction to give him. Veteran status aside, there’s still a lesson for freelancers who might not be as amenable: the earlier you show confidence in your own work, the faster you’ll gain creative freedom (with very little critique). The best collaborators are illustrators who are flexible, and show a willingness to let their ADs make big decisions.
You’re on the same team
Art directors want you to succeed, because when you look good, they look good. You may be asked to deviate from your predilection or even sacrifice a little bit in the process, but it will make you a better designer. ADs know their audience. They know their content. Allow them to guide you and help make the content better. Preserve these relationships by giving your ADs the benefit of doubt. Avoid thinking your editorial work is the best design you’ve ever made and appreciate what it does for the overall story/issue/publication.
You can’t treat client work like it’s your own. Clients should be allowed to take ownership and help make reasonable decisions. That’s tough, because we, as artists, often feel like our creativity is more valuable than the opinions of our clients; however, good editorial illustration is never about making art—it’s about enhancing the content.
Art directors are special clients; ADs understand your work better than most and usually have a background in freelance, so they can relate with editorial frustrations like last-second edits, tight budgets and quick deadlines. That bond of empathy should build your confidence in their decisions — which will always benefit you, since trust is a two-way street and could lead to more work for you in the future. Remember: you’re on the same team. It might not always feel that way, but good clients — specifically, good ADs — see the bigger picture.
