Juliette Wolf-Robin travels the U.S. asking art buyers, editors and industry insiders how artists can market their businesses more effectively. I’ve combed through dozens of podcast interviews Juliette has conducted with influential art buyers and creatives. In this article, art buyers talk about printed promotions that really grab their attention.
Juliette Wolf-Robin: Are there certain types of printed promos that you like to keep? Do you respond differently to an expensive piece versus a simple postcard? Should the promo piece be relevant to the specific type of accounts you work on?
“I know it’s difficult to customize your mailings but you should be careful where you send your stuff. Send something that is applicable to me. I get sports photography and car photography. We don’t really use those types of images. The more familiar you are with our publications, the better.” – Alejandro Chavetta, Art Director, San Francisco magazine, San Francisco
“I like postcards because I don’t have to open anything. I really love well-designed, nicely printed pieces on beautiful paper. But the image has to hold up to the design. Since everything is very digital now… receiving a printed piece is very nice, it's very tactile. You don’t really have an opportunity to be around nicely printed, cool paper.” – Michelle Jackson, Freelance Art Buyer/Print Producer and Founder of Snap Indigo
“I remember, as a rep, we'd send out promos with those see-through envelopes… in hopes that they would actually be opened. Now, I see why that is so valid because I flip through my mail and sometimes I open stuff, sometimes I don’t.” – Lisa Oropallo, Art Buying Manager, Digitas, New York
“I love promotions and I love to get cards. I even do a big montage in my office using exciting, different, colorful, unique images so that I can surround myself and get inspired.” – Sonia Zobel, Senior Art Producer, McCann Erickson, New York
“Personally, I like just the one image on a card. That's a quick way to get a read on a photographer, especially if it's someone we've never worked with or heard of. I love and appreciate the printing that goes into some of the really beautiful promos people send… I'll keep those, usually for a long time.” – Aric Rist, Global Brand Photography Manager, Nike, Portland, Oregon
“The mailers I like the best are just postcards with one picture on the front; just really good photography and simple design. Not a lot of text, not a lot of fonts. It’s about the image and how powerful it is. I don’t necessarily need to see the ad it was in. If it’s something that I have to open up, or is really difficult to open, I will throw it away.” – Wini Barron, Senior Art Producer, McCann Erickson, New York
“I really like simple postcards. I don’t think the clever ones work as well for me. I just want to see your images and that’s what’s going to get you the job, not anything else.” – Heather Hall, Senior Art Producer, McCann Erickson, New York
“It's all about the work. I don't think it matters how expensive the promo piece is. I've seen some really beautiful promo pieces that have laser cuts, and my print producers love them. But, if it doesn't show good work, it's going to end up in the trash. If you're going to spend that kind of money [on a promo piece], the work has to support it.” – Lisa Oropallo, Art Buying Manager, Digitas, New York
“I really like, for example, little box sets, things that make you want to look further… or little books that show color palettes. I still have some of those from 15 years ago. Good design could make a huge difference because it says that this person will have great creative input. But I think you don't have to try that hard. A really simple, one-sided, beautiful card with all the information in one place is enough.” – Marlene Saunders, Freelance Art Buyer, Saunders Communication Agency
“I cringed when I see wasteful mailers like big, heavy cardboard… A simple postcard or a series of postcards is always my preferred way. That's definitely one way we find new artists but, to be honest, it's rare that we will publish an artist based on one postcard, one promo piece. I like to see their work in the world whether it’s an editorial piece or an art exhibit.” – Scott Dadich, Creative Director, Wired magazine, San Francisco
*****