The most important assets that a makeup artist possesses are a professional makeup kit and a portfolio of their makeup work to show prospective clients. A makeup artist cannot function without these ‘tools of the trade’. And yet, many makeup artists take no action to safeguard these valuable items.

I highly recommend that you insure your makeup kit and portfolio with an 'all-risks’ policy. If they are lost, stolen, or damaged by fire, flood or any other disaster, it will cost you a great deal to replace them. Since you cannot work without these things, you will have to replace them immediately.

Losing a portfolio is the worst misfortune that can befall a media make-up artist. Although it is an expensive endeavor, most of the items in a makeup kit are available and can be replaced. The portfolio is a different matter entirely. Most tear sheets and photographs cannot be replaced at any price. Photographers don’t keep negatives indefinitely and the same applies to back copies of magazines and newspapers. In most cases tracking down work you have done in the past is impossible.

In addition to purchasing insurance, I suggest that you attach a notice to the front, inside cover of your portfolio. State that a reward will be paid to anyone who returns this book, and be sure to include your phone number. This may help if it is lost or stolen, but you can’t rely on others with something this important.

If your makeup portfolio is damaged or destroyed, you face a total loss. The only way to safeguard yourself completely is to have a duplicate book that you keep at a different location. That way your work is safe no matter what happens. And always pack your portfolio in your carry-on bag when you fly. That way, if your luggage is lost, your livelihood won’t be.

There is another reason to have duplicate portfolios. Most newspapers, magazines and makeup agencies require you to leave your book with them for a day or two. When you return to collect it they tell you if they are interested. During that time other clients may want to see your work. In this business if you don’t show them something right away, they will hire someone else. Therefore, a second portfolio is an essential marketing tool in this competitive industry.

I know someone who sent a promo card of his work to all the major fashion magazines in New York. He got a call to messenger his portfolio to one of them, as he was working out of town. A second magazine expressed interest and asked him to have the other magazine messenger it to them on the following day. It all seemed very exciting until disaster struck. On his return he discovered that his book had disappeared. He never found out if it was the fault of the first or second magazine, or the messenger service, as they blamed each other. The end result was that he lost everything, because he didn’t have a duplicate. We all think it won’t happen to us, but it’s a gamble you can’t afford to take.

A few years ago someone came into the waiting room of my studio and stole one of my portfolios. It was full of tear sheets from magazine work I did in Europe. I previously made a duplicate mini book of my work by making color laser copes reduced to 5"x7". It was an inexpensive way to duplicate my work, but it turned out to be a mistake. After a few years a chemical reaction occurred between the laser copies and the vinyl pages into which they were inserted. The images bled and fused with the plastic to the point where they became unrecognizable.

The only safe method is to get at least two tear sheets of all your published work. And when you order original prints from photographers, be sure to ask for two of each. A full size portfolio that is 8x10 or 9x12 is far more impressive that a mini book. As the difference in cost to order larger prints is minimal, I recommend one of the larger sizes for maximum impact.

How you present your work says a great deal about how professional and successful you are. The Paris Pressbook style is used by top make-up artists, models and photographers all over the world. These books are available at art supply stores. Get a good quality, black book with metal reinforced corners and an inside pocket to hold your zed cards. The books with multiple rings hold up best and allow the pages to lay flat. The cheaper ones have vinyl pages attached directly to the spine, which prevents them from laying flat.

Your book should be slightly larger than your prints and tear sheets, allowing the black boarder to frame them. Apply a tiny piece of doublesided tape to the back of the photo. Center the photograph and secure it to the black background paper. This prevents your photos from sliding around and looking sloppy. A professional presentation of your work often gives you an edge over the competition.

One final way to preserve your work and market yourself, without driving all over town with your portfolio, is to have a portfolio of your work on the internet. This saves time and money for the client, as there is no agency commission. It also gives immediate access to your work and shows your potential clients how up-to-date you are. In addition to your photographs your Internet portfolio should have a bio with your contact information.

© 2000 Amy Ward

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