Harry Burns is the Global Manager of Artistique, blending his deep appreciation for art with a background in sales and marketing. With a focus on representing artists who create thought-provoking, innovative work, Harry connects with illustrators through proactive outreach and a strong network. He specializes in aligning artists with projects across various sectors, including editorial, fashion, technology, and pharmaceuticals, helping them build standout portfolios. Harry emphasizes the importance of communication, collaboration, and adapting to client needs, while advising illustrators to stay aware of market demands and invest in their professional growth.

If you're looking to work with top-tier illustrators for your brand or company’s next project, reach out to Harry to explore how his talented roster can bring your creative vision to life.

Harry Burns shares his insights on finding top talent, navigating creative projects, and the trends shaping the industry today in our Q&A below:

1. What made you decide to become an illustration agent?

I have always believed that the best way to know if you’re in the right career is to reflect on what your younger self would think of it. Growing up immersed in the creative world, with a strong academic background in art from school through university, I developed a deep appreciation for the subject. At the same time, my curiosity about the creative problem-solving aspect of business - honed through my sales and marketing career - has always driven me. To blend these two interests seamlessly for my career is a blessing. 

2. How do you typically find and represent illustrators?

At IQ, our goal is not only to represent a roster of talented individuals, but take on artists that create clever, thought provoking art which can be challenging to find. To do so, I typically rely on connecting with illustrators through proactive outreach or leveraging my network. Even though it is not essential, it is very beneficial to have an illustrator who is active on social media and creative communities as they are easy to get in contact with. Once I identify someone, my focus shifts to building a strong relationship with them by understanding their goals and bringing it to fruition. 

3. What types of projects or clients do you typically pursue for your illustrators?

I typically focus on pursuing projects and clients that align with our illustrators strengths. This includes a lot of ad campaigns, editorial features and branding projects as these areas demand intelligent/skilled creatives to complex briefs. I also tend to target industries such as fashion, technology, finance and pharmaceuticals as they prioritize innovative and engaging art. While it’s rewarding to see a satisfied client, my greatest fulfillment in these projects comes from delivering final work that elevates an artist’s portfolio and helps them stand out in their field.

4.  What is your process for leading and collaborating with a creative team, especially when facing tight deadlines or challenging briefs?

When starting a project, my first priority is to establish clear expectations with both the artist and the client, ensuring we have a reference point to revisit throughout the process. Next, I focus on determining the best communication channels - whether that’s regular video calls, email threads, or even hiring a translator to ensure both the artist and client are fully understood. Drawing on my project management experience, I keep the team focused, adapt quickly to changes, and provide support where needed to foster an open, collaborative environment.

5. What advice do you have for illustrators who are looking for representation?

I understand that as an artist, it’s easy to lose sight of market demands, but it’s important to stay aware of them. My advice for illustrators seeking representation is to tailor your work to the needs of various industries - whether that’s in advertising, packaging, book covers, or even financial reports. Illustration is everywhere, and if you create work that aligns with what clients need, you’ll attract attention from a wide range of agencies. If you're unsure how to approach this, I highly recommend investing in yourself through courses or learning opportunities to better understand market trends.

6. What is one trend you have been seeing in the Editorial and Ad market in regards to illustration styles?

In the editorial and advertising market Vector Noir and Corporate Memphis are very much still in demand which is quite amazing to see. However I am seeing an upturn in projects which call for 3d illustration/animation. With DOOH advertising becoming a universal method of marketing, I would be interested to see if greater ROAS is experienced in the long run compared to traditional mediums. Additionally in the editorial space I see more art directors look for conceptual illustrators to supply the growing consumer pressure of reading comprehensive news. I am excited to see how these trends will evolve in the next five years and how IQ can adapt to it.