Nate Williams joins Magnet Reps
June 22, 2005

I very happy to announce Magnet Reps is now representing me for commercial illustration. check out their web site at http://www.magnetreps.com.

Here is a Magnet Reps interview by Mary-Beth Holland from Altpick.com

In 1999 Chrystal Falcioni agreed to be a judge at the 18th Annual American Illustration competition. It was a serendipitous decision to be sure.

She was so awestruck by the talent that she made a life-changing career move. "Seeing a great body of illustration in one place made me truly realize the depth of the work and significance of the artists themselves," says Falcioni, who up until then had worked extensively as an art director in magazine publishing, corporate retail, and the fashion industry. "I realized," she says, "I had more to contribute to this industry."

So Falcioni and her partner, Paolo Rizzi, began Magnet Reps. At the time, they had only one strong illustrator, Jennifer Playford, whom Falcioni had been mentoring for several years. "In fact," says Falcioni, proudly, "it was Jennifer who came up with the agency name." During the incubation period, which lasted several years, Falcioni and Rizzi created a marketing plan, business name, and deposited savings into a business account as start-up money. Rizzi's background in customer service and finance proved the perfect complement for Falcioni's creative and marketing skills; being dubbed a tastemaker by the likes of Fred Woodward and Mark Heflin certainly attests to her talents. Since beginning the company, Falcioni and Rizzi haven't looked back.

Magnet Reps is currently comprised of eleven artists, each with a unique style.

Falcioni personally creates a marketing plan for each individual. "I try to be inclusive and deal with the whole artist by letting clients know when an artist is exhibiting, doing charitable work or winning awards," Falcioni says. As a result, "I have clients telling me they feel like they already know the artist. It really helps me sell their work."

Although Magnet Reps client list is extensive, the agency does not pursue all areas of the industry. The reason: Falcioni's approach to business. "We can be better at what we do by being specific about who we are and who we represent. We have worked hard to maintain integrity in our talent base and have been very selective in our choices because of that," she says.

This approach has certainly paid off, as evidenced by The National Magazine Awards 2002, Communication Arts Illustration Annual 2001, 2002 OZZIE Award, American Illustration 20, 21 & 22, Society of Illustrators Annual 45, 2002 Society of Illustrators 3-D Salon, 2001 Applied Arts Annual, editorial coverage of artists in both How and Print magazines, and work in the permanent collections of The Museum of Modern Art, Bagheria, Italy, and Toronto Historical Boards Marine Museum.

Chrystal Falcioni spoke to Altpick by phone from her Los Angeles office.

How do you pick your illustrators?
It is really impossible for me to separate the art director in me from what I am doing now. I see a lot of people I like but it is extremely rare for me to see someone and think, my god, this person is just outstanding - so it really comes down to taste in all this. We have never solicited illustrators. We have always been approached for representation. Starting your own business, you want it to be profitable. You want it to be all sorts of things. Most importantly, you want to like what you are doing if you are doing it on your own. So if I don't connect with an artist, and I don't feel like I could work with that person for the next five to ten years, I don't even want to get involved. Personality and dedication is really important. No matter where you are in the process, I think you have to be dedicated.

Who are some of your clients?
MTV, Nike, ESPN, American Eagle Outfitters, Urban Decay, Macworld, Chen Design Associates, Arnold Worldwide, Virgin Records, Atlantic Records, The New York Times, The Wall Street Journal, The New Yorker, Rolling Stone, Business Week, Wired, Fast Company, In Style, Shape, and the Red Herring.

How has your work at magazines and in retail helped you as a representative?
I don't think I would be able to do what I am doing now if I didn't have that experience. I learned so much about the business of creativity working in in-house agencies and magazine editorial departments. It has enhanced my negotiating powers and the customer service I can provide. I can understand the clients' perspective because I was the client for so many years. I have acquired talent through representatives and now I am a representative having talent. Having seen the business from all ends of the spectrum has given me a well-rounded perspective. I have a connection with my artists and I know how they feel having someone else in charge of their career.

What do you think the future of illustration will be?
Stock has made an impact on the industry. Do I think it has made an enormous impact from where I sit? No. First-rate advertising, publishing and consumer magazines that want original artwork are hiring the artists we represent. I think it is an easy excuse for people to blame their lack of productivity solely on external factors that many in the community are ranting and raving about. Artists have to decide whether they want to compete with mediocrity or genius. The only thing about the industry I see is this trend towards these mega agencies. I think that a boutique agency by virtue of its size offers a more personalized attention and care both to the client and the artist. Actually I think the future of illustration is bright, and believe strongly that illustrators will be more recognized for the full scope of their work as artists.

You mentored your first artist, Jennifer Playford. Do you mentor all your artists?
When they contact us some of the artists are ready to go, and we say we will take you hands down right now. There are other people who we say: We love your work but there is not enough consistency in your style for us to pursue it. In school artists are experimenting and haven't found themselves yet. Many are even encouraged to maintain multiple styles in their work. Realistically speaking, the art directors need to know who you are and what you are all about. We work with artists for a year sometimes before they are ready to be represented. I give it six months. If it doesn't happen within that amount of time, how quickly will anything else in the relationship develop?

How do you keep yourself inspired?
That's easy. The way our billing system is set up, each artist sends a final to us when he/she has finished a project. That way I know it is done and has been sent to the client. I get e-mails with images every single day and sometimes when I look at the images I get the shivers. You look at it and say, this is just spectacular work. I would have to be dead not to be inspired by the job I do. It is an incredible position I'm in, surrounded by all this talent.

What advice would you give to illustrators?
If you want to be a great illustrator you need to be illustrating or working on your illustration in some respect everyday - no excuses! Do you want this or not? If you do, then work hard at it. If you don't, then find what motivates you and move on. This is a brutally competitive field and anyone that does not recognize that has to sit down and do a little research. Every illustrator out there has an enormous amount of competition and they should all know who the key players are.