An Alternative to Licensing Representation: by Guest Author agent Laurie High

This is the second post being published on this blog that has been written by a Guest Author. We thought that her article could be helpful to other artists. Please feel free to let us know your thoughts about this topic.

An Alternative to Licensing Representation, by Laurie High. Parker Fulton, along with two partners, started Creative Connection, Inc. in 1991 with a vision of securing jobs for fellow Artists and ensuring fair contracts for them as well as for the clients. Very quickly, Creative Connection, Inc. was representing fifty artists. Parker's original partners were unable to continue with the new business due to personal complications, and she had a choice to make – close up shop or find another partner. Not wanting to disappoint all of those artists, she asked her daughter (me) to join and to help run the business. While I didn't have any artistic background or experience, I did have business experience and schooling. So, together we have grown Creative Connection, Inc. to what it is today. We did, however, lower our preferred maximum number of artists to a more manageable twenty which we find to be ideal.

The pool of incredible artists is over-flowing. We receive requests each week for representation from wonderfully talented individuals. Unfortunately, we have to turn away most of them. We have been blessed to always stay at full capacity, and except for the initial search for artists back in 1991, have never needed to seek artists. This doesn't mean we will necessarily say no to an inquiring artist, because an artist's portfolio may include a subject and/or style that we are lacking.

When an artist approaches us for representation, the first thing we look for is art that is well done and compatible with our art. Secondly, we look for overlap. If the art is too similar to that of an artist we already represent, then we must decline representation. Overlapping too closely would not be fair to them or to the artist we already have with that style/subject matter. However, there are exceptions to this rule such as the need for more than one floral or wildlife artist. Third, we look for how heavily they are already licensed. If they are heavily licensed, then they are probably already working with several of our clients. In that case, we do ask for more information, i.e. the types of current licenses. While these are some of the most important things to consider, we also pay attention to how well they communicate and are reachable, if they are showing us their best art and if it is presented well, etc. All of our artists are also very kind, caring and trustworthy individuals, and that is extremely important.

When an artist is considering which agency they would like to go with for representation, they should consider the talent, styles of art and subject matter that the agency is currently representing along with the number of artists. Commission rate, exclusivity vs. non-exclusivity, reputation and term are additional things to think about.

Contracts vary from Rep. to Rep. Our commission is at the lower end of the scale, and thus we charge our artists to participate in shows, particularly Surtex. We have found Surtex to be the most lucrative show as far as securing new clients and jobs from existing clients. So, it is incredibly important that our artists participate in this show although we do not require them to do so. In addition, we are non-exclusive so the clients that our artists get on their own, they keep as their own. However, in several cases our artists have asked us to take over all of their clients thus enabling them to concentrate fully on creating. In these cases, we link directly to their personal websites, since they are listing us as the sole contact for licensing.

At any point, our contracts can be terminated with one month notice by either the artist or us. If this happens, any clients that we have secured for the artist during the term of the contract remain our clients for 2 years following termination. All current licensing agreements remain in effect as originally contracted whether or not they go beyond that 2 year period. Artists are free to contact any clients we have secured for them following that 2 year period. Agents spend years building a client base and relationships with those clients, so it is extremely important for the agency to maintain these clients for that two year period. However, on a case by case basis, we may decide to shorten this period of time, i.e. letting the artist work directly with a particular client immediately following termination. We do not want the termination of the contract to be a burden for an artist or to cause an artist to miss out on possible assignments.

Ours is just one agency, and every agency handles things a bit differently. Some charge a higher percentage, are exclusive and pay for all other expenses. We take a lower percentage but do charge our artists to participate in Surtex and other shows in which we display their art. Providing a trustworthy environment for all of our business dealings is of utmost importance to us. We value the relationships we have with our artists, clients and everyone in this field.

If you would like to visit our website, it is: www.cciart.com.

Finding a New Agent, by Guest Author Jill Meyer

This is the first post being published on this blog that has been written by a Guest Author. We thought that her article could be helpful to other artists. Please feel free to let us know your thoughts about this topic.

Artist Jill Meyer

FINDING A NEW AGENT, by Jill Meyer. You think it might be time to find a new agent to license your art? I knew it was time for me to find a new agent when the agent with whom I had been working and signing licenses with for more than a year, misspelled my name on my Surtex banner! That, along with a number of other unimaginable and unexplained gaffes made it undeniable that it was time to seek new representation.

Artists usually pay 50% of their royalties to their agents, and the agents usually demand that the artist designates them as their exclusive representative. However, in this deal, the artist is not the exclusive client of the agent. So when you are paying 50% of your royalties to an agent, you do have a right to expect that agent to represent your interests and protect your brand at their highest level of excellence and competence, 100% of the time. Not just when it is convenient, or when they feel like it, or when they are having a rare good day. I think that some agents become so self-absorbed that they forget that they actually work for, and are paid by the artist. The artist does not work for them!

So, my path was a clear one. Find a new agent. Hopefully this time, one who could spell, who could communicate with kindness, and who would pay closer attention to the work for which they were getting paid!

© Jill Meyer

My first step on this journey was to tidy up my web site. I blew away all of the cobwebs, polished up all the buttons, and spruced up my web site until it was a true representation of the current work that I was producing. I made sure that my site was very easy to navigate and I presented my artwork samples on one page, in a very simple, and straightforward manner. I was aware that everyone was busy, and I thought that if I could show my work to prospective agents in a very efficient few seconds, I would have a better chance of having them actually look at the work. Sweep, tidy, dust, polish, and I finally had my web site ready to work for me.

I had in my possession the famous list of 50 Licensing Agents (thanks Joan Beiriger). I looked at the web site of each and every agent on that list. I had to make some basic decisions immediately. I knew the kinds of situations which would work best for my temperament and personality, and I wanted to follow the guidelines that I felt would give me the greatest shot at success with a new agent. Everyone has different parameters and requirements for an agent, and it is a good idea to make a list of your "must haves." I decided that I wanted a small agency which represented no more than around 15 artists. I wanted an agency where my work would fit but not be too similar to any other artist in the agency. I hoped as well to find an agent who was based in my time zone. Perhaps most importantly, I was looking for good "chemistry" with the new agent. I like to work in an atmosphere of kindness and respect. If I can share a few jokes and have a little lighthearted fun with my work mates, then that's even better! But working with a kind and respectful person is a necessity for me and was at the very top of my priorities.

No agent ever advertises kindness and respect on their web site, but all agents do have reputations that they have earned throughout their careers. Some agent reputations are impeccable, glowing, and sublime, and some are, perhaps unknowingly, being dragged around like a sack of three-day-old fish! If you listen carefully when you are doing your interviews on the phone with agents and their artist references, you will quickly pick up on many things, including how this agent handles their interactions with others. People will always tell you exactly who they are if you listen closely to what they say to you.

I eliminated those agents whom I thought were not suitable for me. I did focus on the agent sites where the artwork and the artists looked as though my work might fit in well. That is, if an agent handled only artists who did cartoons, I eliminated that agent, because my work would not fit in with that look. I culled the list of 50 agents down to 25 possible candidates. I composed a short e-mail note which said that I was looking for new representation, and I included a link to my web site.

I sent this note to the 25 agents on my list. I did not really expect any answers, especially because I sent my query immediately after Surtex and everyone was busy with follow-up, but I thought that it wouldn’t hurt to try this approach first. I figured that I would definitely need to come up with a Plan B, but trying Plan A was my first option.

I actually had to pick my self up off the floor, pinch myself, and do the Happy Dance, because over the next few days I received 18 replies from agents. All of them had visited my web site and were positive and complimentary about my work, and most of them were seeking to represent me. I was really delighted, because to tell the truth, I was having a really hard time coming up with a Plan B!

The long list of agent replies now presented me with a new problem. Who were all of these people and which one could best represent me? I decided to ask everyone I could think of if they knew and could tell me about these agents.  ...No,that didn’t work. I could not find anyone who could or would share information about any of these agents.

I re-visited all of the web sites of the agents who had replied and I studied the sites carefully, and was able to exclude a few agents that way. If a site looked sloppy or did not showcase the artist's work well, or the mechanics of the site simply did not work properly, I eliminated the agent. Details, neatness and careful presentation count for a lot in this business…, really in any business. If I was put off by an agent's site, I imagined that art directors and clients would also be put off and this would not be the way I wished to be represented.

I had a few agents write me copious e-mails, complimenting my work, and offering me immediate art opportunities for licenses that they were sure I would get if I signed with them. I replied that I had a number of responses and I was just going to carefully speak with each agent before I made a decision, and that would take me several weeks, if not longer. A few more e-mails from these agents, complimenting me, and saying how much they wanted to rep me, and then…nothing more. I guess there are people who rush in, and try to make a quick deal, and when they are asked to wait a while, they re-think or do not wish to compete, or who knows what motivates people's behavior? I had one agent tell me that although she was very interested in representing me, that she felt that I had too many licenses and she was more comfortable signing only artists who had no licensing experience at all. Maybe, that's good news for artists who are just starting out, or maybe not. I was actually happy to be able to eliminate a few more from the list of replies.

I had a pretty solid list of 12 now. I e-mailed each and asked to make appointments to speak with them personally on the phone.

This was a defining step. Some of them never answered my e-mail and I eliminated them (or did they eliminate me? I'm confused!). I did speak with a number of agents on the phone. One of them would only work with artists who gave up their copyrights on all of their work. NO! Never (not something I do)! A woman agent was actually quite belligerent, snarky, and a little mean (been there, no thanks). I told her immediately that I didn't think we would make a good team. I checked the meanie and the copyright buyer off the list. The elimination process was getting easier and easier!

I asked every agent with whom I spoke to send me their contract and to send me the contact information for several of their artists who could be their references. All of them sent the contracts; a few did not send references. I eliminated those who did not send references. This is a pretty basic tell, but an important one to note. You need to speak with the people who are given as references and not just assume that you will not get helpful information from them. This is actually where I was able to gather some of my best information.

I perused the contracts of each agent. All of them were different, and all of them, to a large degree, defined how the agent viewed their relationship with the artist. There is no "standard contract." I always view that phrase with suspicion and mistrust. Anything in a contract can and should be up for negotiation. Some of the contracts were very fair and balanced, and some of them sought to advantage only the agent and to disadvantage the artist in unfair and onerous ways. The contract clauses which describe "the parting of the ways" when the contract terminates or is canceled are very telling. That is usually when the problems surface.

Then lawyers for each side lick their chops, put on the gloves, and turn on their meters. If an agent sought in their contract to continue collecting royalties, and hog-tie the artist well beyond the end of the agency contract, or the end of the existing licenses, then for me this became an agent to avoid. If an agent included the words "mutually agreed upon" in these clauses, I became instantly chirpy. With apologies to Neil Sedaka, "Breakin' Up" with an agent should not be hard to do.

Now I am down to a manageable list of a few agents. Whew! I seemed to have blown through that long list fairly rapidly, but a girl has to have her standards and I had some exacting ones. I wanted to get the agent thing right this time. I have had other agents in the past and they have all been, for one reason or another, a disaster for me. In fairness to me, I never actually had the opportunity to carefully select any of my other agents; I just sort of backed into them fortuitously. This time I was able to choose and I was determined to decide as wisely as possible.

I had precise requirements because I view the agent/artist relationship as a partnership, and I wanted to be able to work with the best partner for me well into the future.

I interviewed the remaining agents on my list, and I had a wonderful time speaking with them, and was thoroughly delighted to meet them! I called the references for each agent, and again, I had a lovely time meeting and speaking with the artists who were candid, and generous, and thoughtful, and delightful. Some of us have become friends, and I hope we will remain friends for a long time.

For my top choices, I settled on two of the agents who were both very pleasant, had most of the important requirements, and with whom I felt very comfortable. I had spoken with each of them on the phone and we had exchanged a number of e-mails. I had also spoken with the artist references that they provided. The agents were fairly equal in their appeal and it was difficult to decide which would be the final choice. I needed a tiebreaker. I read very carefully through each of their contracts again. I knew at that point that I needed advice.

I cannot emphasize enough how important the next step is. It is worth every dime and any time it costs you upfront, and it is nothing compared to the time, money and grief it will save you in the long term. Even after you have read through the contract of each agent, have an attorney review the contract of any agent with whom you plan to sign.

I am lucky that my husband is an attorney (as well as a darling husband), but I also have an Intellectual Property attorney (sarah@artlawlawyer.com) who handles contracts and copyright issues for me. She specializes in handling contracts for artists. She knows all of the ins and outs and is a master at resolving any of the issues that crop up when negotiating contracts. She always seems to have just the right brilliant and/or creative idea to suggest. It is ideal when both she and my husband collaborate and review my contracts.

One of the agency contracts (of my top two agent picks) was very fair and well balanced. It did not disadvantage the artist in any way, it had a very favorable split and it was written clearly and concisely, in language that was easily discernable. It was abundantly clear that this agent wanted to work with the artist as a partner and every paragraph in the contract testified to this.

The other contract was long and verbose, and so unclear in many of its clauses that I could not understand it, nor could either of my lawyers. When the agent explained the meaning of those clauses and the inequitable intentions that were attached to the ambiguous language, which she represented as "the standard of the industry," I was advised by both lawyers not to sign that contract under any circumstance.

I chose the very pleasant agent with the fair and favorable contract. One cannot predict the future of course, but it seems that life is made up of a series of choices. Lessons learned in the past lead me to believe that if one makes a careful choice, based on a prudent, well–advised plan, that there is a better likelihood of a good outcome going forward.

I am hopeful that I will have just that. Here we go!

An Agent's Point of View on Surtex and Licensing Expo - Lance Klass of Porterfield's Fine Art

I've been publishing interviews and articles about Surtex since the end of May after returning from the show. It has been great learning and fun to get multiple views of the show. In the next couple of weeks I will be wrapping up the Surtex 2012 series while the summer vacations are already in full swing; artists are patiently awaiting to hear back from their agents or manufacturers about their sought-after creative collections.

This week I am pleased to host an informative interview with Lance Klass, President of Porterfield's Fine Art, who will be sharing with us his views as an agent on the Surtex 2012 show as well as other licensing topics. Lance is also the author of this very helpful article about art licensing titled "Ten Secrets to Success in Art Licensing."

How was Surtex 2012 compared to other Surtex shows you did? What was different and exciting for you as an agent? This year's Surtex seemed to be stronger, with more exhibitors and an extremely diverse group of visitors from North America and around the world. Of the 103 companies we met with during three hectic days, perhaps 15% were from outside the United States, often from halfway around the world, all drawn to Surtex to find the latest and most compelling array of artwork available for their products.

As always, it was great to reconnect with other agents and artists and especially with licensees whom we hadn't seen for a year. And there were many new faces as well, including licensees who were experiencing their first Surtex. What a pleasure to meet people we're in touch with all year and be able to discuss active and future programs! In this business of art licensing, relationships are often as important as the art you're trying to license, and Surtex is a relationship-building experience.

How was the Expo and what was exciting about it for you as an agent? Surtex is far and away the best venue for art licensing. It's in a great location – New York City – still the business hub of America. New York has a high level of energy and that seems to be contagious. In my experience, people who attend the brand licensing show in June in Las Vegas are more relaxed, but people who come to Surtex seem to be ready to do business and that's essential for us. Another exciting factor this year is that we seemed to have had more visitors coming to us from the National Stationery Show next door in the convention center. Thus we were able to extend our reach into cards, stationery, gift wrap and other paper products - definitely a plus.

In your view, how's the current economy influencing art licensing and trade shows? I wrote about this extensively in an article that was published in the Surtex edition of The Art Buyer. In its simplest terms, the nascent recovery that began with Christmas 2011 when retail popped up 5.5% nationwide has continued each month since. It indicates that consumers do have more money in their pockets and are ready to spend it on products with artwork that makes them feel better about things.

Art is the great anti-depressant, and consumers are tired of the grays and muted colors they were supposed to want (but didn't) after the crash of Christmas 2008. That was just a lot of off-trend baloney that steered so many consumer products companies in the wrong direction.

What consumers want is color and more color, images that draw them in, take them away, make them feel better about themselves and about life, art that brightens their day and helps them move forward. If the economy continues its steady growth, we'll have even more demand for compelling artwork and our industry as a whole will benefit along with our licensees, retailers and consumers.

What will you do differently (if anything) for Surtex next year? I’ll try to get more sleep. I might also get another iPad so that two can be in use at one time. I also want to spend as much time next year enjoying New York as I did this year. What a pleasure once the booth was set up the day before the show, to walk from my hotel at 53rd and Seventh up and through the park to the Metropolitan Museum of Art on 81st and Fifth. A glorious, perfect evening in the city, enjoying Central Park, ending with hours in one of the best art museums in the world. And of course we ate at wonderful New York restaurants. Who needs Vegas?

Any emerging trends of importance to be mentioned? As mentioned above, consumers want color, brightness, beauty and we who license art need to provide it to them.

Can you offer any advice to new artists about breaking into the industry? Read the articles on this site, on my site, my blog and other sources of good information about what art licensing is and how it works. Connect with agents and artists, network, learn. Find out what potential licensees want and provide it to them. That means not painting for yourself, but rather painting images that will have maximum appeal in the market.

What makes for a great collection? Any advice for what kinds of designs to include? A great collection is one that has maximum commercial appeal. Every artist is different in approach, media, and ability. Study the market, be inspired, put it down on paper, canvas or Photoshop.

What's on the horizon for your agency? We've expanded our stable of artists to 30 to give us greater diversity of subject matter and style and color, and we're experimenting with styles of art and subject matter that are new to us. We're more open than ever before to taking on very talented new artists whom we think are a good investment. This is a good time to be in art licensing.

Anything else you'd like to add? I want to compliment the staff at Surtex for the way they ran the show. The Jacob Javits Convention Center is undergoing major expansion and one effect of that expansion is that during a rainstorm on the Monday of the show, the roof leaked in our aisle, effectively shutting us down for over an hour. That wasn't the fault of the Surtex staff, but they went the extra mile to get us running again quickly, and after the show to provide recompense to those of us who lost valuable time, contacts and business. These folks are a class act.

An Agent's Point of View on Surtex and Licensing Expo - Kimberly Montgomery of Montage Licensing

I asked Kimberly Montgomery, owner of Montage Licensing, what she thought of the Surtex and the Licensing Expo shows from her perspective as an agent. I also asked her for some advise that would be of interest to newbies. Kimberly herself brings the perfect pairing of in-depth licensing experience and fine art expertise to the art licensing industry. "A small-business owner for 20 years and a successful licensed artist, I'm savvy to what manufacturers are seeking for their products and I'm profoundly informed on licensing contract issues and on what constitutes a profitable, beneficial agreement," she says. "After all, I successfully provided just that type of work for literally hundreds of products myself. I was recognized as a 'rising star' in licensing by Greetings magazine." Her popular illustrations adorn hundreds of gift and decorative products nationwide. You will find her delightful designs on greeting cards and stationary, home décor, baby products, teacher's gift items, scrap-booking items and pet accessories. How was Surtex 2012 compared to other Surtex shows you've attended - what was different and exciting for you as an agent? The 2012 show was one of the busiest and most successful I've seen in a while! And not just for my agency, but for most of the exhibitors. The mood was upbeat, artists were happy and manufacturers were excited and in a decision making mode – which we love to see! It was the second show for Montage Licensing and I couldn't be more pleased with the results. We've already signed a number of great contracts and have many, many more in the works. At times our booth was so busy that my assistant Heather and I had a hard time keeping up with all the requests. It was very exciting! How was the Expo and what was exciting about it for you as an agent? The Expo is a very different environment than Surtex. Much more character and big property driven with a very small area designated for Art Licensing. Traffic seemed good and the rooms were definitely filled with big hitting decision makers. Personally, the excitement for me came from speaking at the Licensing University. Linda Mariano of LM2 Marketing, Liz Wain, Design Director for Enesco, Rick Barnett, Managing Director for Art Expo and myself spent a lively hour and a half talking about the ins and outs of art licensing. In your view, how's the current economy influencing art licensing and trade shows? The sentiment in the industry is that things are really picking up. I see more art being licensed and more optimism from manufacturers. On a personal level, I'm cautiously optimistic. My concerns are how the economy is going to fair post-election. What will you do differently (if anything) for Surtex/Expo next year? We may make some minor tweeks to the booth, but other than that just show up! Any emerging trends of importance to be mentioned?I keep hearing about pocket watches and peacocks! Can you offer any advice to new artists about breaking into the industry? Yes. Hire a consultant. This industry has become very competitive and sophisticated for a newcomer to really be able to navigate it alone. What makes for a great collection? Any advice for what kinds of designs to include? Stick with subject matter that is applicable to the Gift and Paper Products industries and make sure the work is top notch. Design in collections of 4-6 items and always include images for the major holidays. That will increase your chances of getting your work licensed. What's on the horizon for Montage Licensing? It is my goal to build Montage Licensing into one of the most successful and respected agencies in the business. We'll accomplish this by representing the most talented and hard working artists in the industry, and always being extremely helpful, responsive and fun to work with for our wonderful manufacturing partners. With great art, a great attitude and extreme professionalism, everybody wins! Anything else you'd like to add? This is an exciting and fun industry filled with great talent and creativity – work doesn't get any better than that!

Brief Tips & Tricks in Art Licensing

There have been a series of articles and discussions in regards to the agent vs. no-agent artist relationship. I picked a couple of comments that I felt clearly stated a balanced opinion of the two worlds and I am republishing them below. 

Here is the link to an interesting Linkedin thread on this topic (you'll need to access the site before reading it); another good editorial to read is here: Do's and Don'ts of Art Licensing; you can also find additional views about why agents won't represent an artist here.

Your comments are always welcome.

As a note regarding my blog policy – you're welcome to comment on this posting if you wish to contribute to it; please keep in mind two important criteria: 1. constructive criticism and 2. respectful dialogue. Inclusion in my blog is not an endorsement of a particular point of view but only a recognition that we can learn from open conversation among a diversity of perspectives.

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Jackie Von Tobel - "I researched the industry for two years before making my debut at Surtex last year and it was obvious that for me having an agent was the way for me to go. What I have found having been represented by an agent for almost a year now is that working with an agent is very beneficial but it really doesn't change the amount of work and effort on your part as far as generating leads and finding appropriate manufactures for your work. Of course an agent will bring contacts, deals and opportunities your way but if you want to be successful you still need to do a lot of work yourself. Having an agent is not a ticket to success.

An agent does bring a wealth of knowledge regarding contracts and the nuts and bolts of the biz and their contacts but you still need to participate in your own success. I attend all of the shows that I can and work in tandem with my agent. I walk the shows, hand out promo packages and try to start a conversation with manufacturers that might like my work. I direct them to my agent's booth to see my portfolio. It is a huge cost savings not having a booth of your own but I am beginning to think that even that is something that I should consider doing again. Your agent is busy and is promoting all of the other artists on their roster as well as you. No one can promote your work with the same passion and enthusiasm as you can. 

The bottom line is that this is not an easy business and you need to have realistic expectations of what your agent can do for you and still be willing to put in the necessary work yourself as well as find time to generate new and fresh art."

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Jonathan Klase - "I'm coming at this question from the manufacturer's side of the table as a marketing director. The biggest challenge I see in representing yourself is that the more time you invest in making contacts, the less time you have to create new work. I look at portfolios all the time that are stale because the artist hasn't spent enough time on their craft and researching the market to see what's going to sell. With the right agent, you can do what you're good at and they can hopefully do what they're good at. A good agent should know where your art fits and help you to avoid the rejections as well as guide you in how to prepare you for making the right fit. This of course is contingent on having the right agent for you, and it does take time. But the right agent can make all the difference. If you're going at it on your own, there's no harm in asking questions. I try to be as honest as possible with people but no one likes rejection and I certainly try to be as tactful as possible. I'm sure others handle it differently and may be more blunt. 

To sum it up...unless I'm working with a seasoned, licensed artist, I prefer working with an agent as I don't have time to train someone in the licensing business that come in with talent but no experience."

Bold, Whimsical and Colorful Designs - Interview with Creative Director Mary Beth Freet

© 2012 Alex Colombo The last couple of weeks have been so fun and busy but also full of nice but unexpected turns of events ... I am now represented by Montage Licensing, a wonderful licensing agency owned by long-term successul licensing artist Kimberly Montgomery – I always planned to represent myself but this great deal came about and I am happy to have signed up with her! Additionally, I finished my new website, which is now up and running; if you wish to take a peek you can find it here, at AlexColombo.com. It is just about the perfect time to have one to display my first set of everyday/florals and holidays collections! More coming soon...! And in tune with the world of art licensing, agents, artists and inspirational designs, here is a fun and full-of-good news interview with Mary Beth Freet. Artist & Creative Director Mary Beth Freet The Moon from My Attic: Please introduce yourself - Hello, my name is Mary Beth Freet and I am the Creative Director of Pink Light Design, DBA Pink Chandelier. You can see our current products that are licensed on our blog. TMFMA: Can you please tell us your story in art licensing? I began my journey in art licensing when I first exhibited at Surtex in 2009. It was an amazing experience! My goal was to become the next Lilla Rogers Studio! I had walked Surtex the year before and was so blown away by their artist's designs and I wanted to do something similar. In December of 2008 I started Pink Light and work diligently for the next five months to be ready to showcase my designs at Surtex in May.  I went with the intention of learning as I went and I took every opportunity to learn from experience, my clients, and my peers. In the past few years PInk Light has grown quickly and I now represent over 12 artists from around the world. Pink Light's style is bold, graphic, whimsical, and colorful. In 2010 I launched "Pink Chandelier" which is a more sophisticated take on our fun designs.  © Pink Light Design TMFMA: As a designer, what are the challenges in this current market? How do you meet them? The challenges from my perspective is finding great artists who have time to really create great pieces throughout the year. Also, patience is very important in the licensing world. It can sometimes be a year or so before a design will be chosen. But if you have patience, it can definitely be worth it.  TMFMA: As an art licensing agent, how do you find a new artist? Do you go by referrals or do you go through websites, portfolios, blogs or on-line shops? Or do prefer to meet them in person at licensing shows? What do you look for? © Pink Light Desi I find most of my artists through the print and pattern blog. I typically will do a call for designs and then I go through all of them to find artists who will fit our style. Furthermore, I look for artists who have a large portfolio of great designs. This can be a difficult process because an artist may have one or two really great pieces and it's hard to really get a feeling for their depth and talent. I also look for artists who have experience in the mass market because in the licensing business it is important that the artwork be sellable across a wide range of products and age ranges. I find that artists who do have this "mass market" experience, those who have worked in-house for retailers, understand the process and design needs and are much more successful in designing collections and understanding client requests for custom work.  © Pink Light Design TMFMA: Do you employ POD (Print on Demand) or other online sites to license your art or do you only work with traditional manufacturers? I aim to work mostly with traditional manufacturers at this point.  TMFMA: What's you view of the current market and trends? I feel like the current market is great. I started my business in what others viewed as a "down economy" but I don't share this point of view. I believe that you can do anything that you set your mind to, regardless of what others prefer to believe. Therefore, the market is always full of possibilities. There are always people who will need great designs and as long as you can offer a service that will bring your clients success, it's a win-win situation.  © Pink Light Design Regarding trends, the biggest thing that I am seeing now is that people want an experience and an overall "feeling" with their designs. In the same way that customers love a unique store experience or a great vacation, or the feel of a beautiful fabric or textured paper, they want that same feeling with their designs. Create artwork that will take them away, if just for a moment.  TMFMA: How do you see the future of licensing? With just a few years in, I see it as a personal learning experience. The great thing about licensing is that there really are no rules. At the same time, artists need to educate themselves and understand their value in order to be really successful in the licensing business. Artists need to offer something fresh and new that manufacturers cannot get from an in-house artists or purchase outright at a trade show. Therefore, it can be a challenging task but well worth the effort and journey if you bring your passion for art and business with you!  © Pink Light Design TMFMA: Can you share your current design projects? We have so many designs that are out there right now. Take a look at our blog to see some of our artist's work. Our fabrics can be found through Robert Kaufman. We have stationery products launching at Target in March and April and will be available year round. These are under the Pink Chandelier brand and they are AMAZING!! Stay tuned for more info. We have designs licensed with Design Design that are in Papyrus stores. We have scrapbook artwork with Studio G for Valentines Day that will be available at Walmart Stores. We have cell phone cases through Uncommon that are in Apple Stores worldwide. We had many gift bags and gift boxes in Target for the holidays just to name a few.  © Pink Light Design TMFMA: What are some of your upcoming licensing projects? We work with numerous manufacturers and are continually meeting new clients at trade shows. We will show at The Licensing Expo in Las Vegas in June for the first time and plan to move into more character licensing in the next year. Off the top of my head...in 2012...Angela Nickeas has folders and notebooks coming out for Back to School product with Class Act. Diana Skylacos has a paper tableware collection launching with Design Design. Lucy Sturgess, Jen Da Silva and Angela Brumby have fabric collections launching with Studio e fabrics. Mary Beth Freet has notebooks, folders, binders launching with Class Act to be in Target and Walmart stores. Nina Seven has a scrapbook collection with Momenta, paper tableware with Unique Industries, and fabric with Robert Kaufman. Elizabeth Caldwell has a fabric collection with Robert Kaufman. Jane Dixon and Mary Beth Freet have planners to be launched with Andrews McMeel.  © Pink Light Design Various artists have greeting cards licensed with Design Design. Jennifer Cepeda has a scrapbooking collection to launch with Momenta. Elizabeth Caldwell and Jen Da Silva have wall decals that will launch with Roommates Peel and Stick. Jen Da Silva, Angela Nickeas and Mary Beth Freet have wall art that will launch with Oopsy Daisy. Mary Beth Freet has a fabric collection that will launch with Robert Kaufman. It will be a FUN YEAR!!!!  TMFMA: What advice can you give to new artists to help them learn and do art licensing? Don't be afraid to ask questions. People are always willing to help. Have a big portfolio. You cannot expect to keep sending out the same designs and get them picked up. Clients want fresh, fresh, fresh, new, new, new. Take classes and learn as you go. Get experience working with buyers in some capacity. This will help you understand the process. Oftentimes, decisions are made that have little to do with your artwork. Buyers have to take so many things into consideration. Understanding WHAT they are looking for and what other factors they have to consider will 100% make a difference in what you bring to the market. Make mistakes and learn from them. Most of all, follow your heart and have fun!  Your comments are welcome.

Brief Tips & Tricks in Art Licensing

I have started noting down some key tips & tricks I get from networking and in reading up about licensing from blogs or books. I'll start sharing them as I go. These are not laws set in stone, just comments I thought could be helpful in some situations.

• At a licensing group meeting a licensed artist/agent recommended to start building up your collections with three basic themes: Halloween, Christmas and birthdays, since these drive a large percentage of licensing deals.

• For those interested in finding an agent, there is a large spectrum of opinions. I've heard it suggested that you have a complete portfolio with some 200-300 pieces of artwork, or 8 collections of 4-24 pieces each, or 3 basic collections with 50-75 illustrations total, depending on the agent, your technical and design skills plus your understanding of the market. There are some exceptions to the above in that some artists get an agent even before they develop full collections, but these are apparently rare instances - their art is very fresh, unique or some sought-after style.

• The ability to develop innovative concepts that can be used for multiple product applications, which can also be applied across multiple categories, is much more important than having a large stack of illustrations.

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If you have any additional or contrary tips that you'd like to share, please leave a comment! I'll share more tips and tricks that I uncover in the weeks to come. By the way, Surtex 2012 is only about 260 days away!

An Interview with Licensing Agent and Consultant Linda Mariano

This is my second written account about my journey into art licensing - the first one being the editorial on the Surtex and Expo shows. It's exciting to get started with some design work to make into collections! Although, it's a rather overwhelming feeling to even think of all the work ahead of me. Being a diverse artist I tend to go off in million different directions and try out everything I dream up. So where to start from, really? In a sea of concepts I picked one style that I felt passionate about – it has taken several months to decide on it but that's beside the point... In short, it has been my first homework in the start towards art licensing - to pick out what style and theme.  

But fortunately I am not totally alone in this journey as a newbie ;) I have met so many great artists and professionals, both on line and in person at the two art licensing shows. One of them was Linda Mariano – we met briefly at the Licensing Expo show in Las Vegas and she agreed to do an interview. She's also supplied us with her free Top 10 Checklist for Art Licensing! 

With a career that spans 30 years, Linda is a leader in marketing, brand management, e-commerce and promotion initiatives for major retailers, specialty retail, art industry, licensing partnerships, media and entertainment, as well as entrepreneurial business environments. Her expertise and strong track record of exceeding marketing and sales goals, building brands and driving business success makes her a vital part of any organization.

Linda’s expertise in the licensing industry, as either a licensor or licensee for 15+ years, has made her readily recognized for her expertise and strategic approach to integrated brand and business strategies. As a Top 100 Licensor, she achieved $400M+ in annual retail sales with 85+ licensees for the Kinkade brand. Her recent work coaching and preparing emerging artists for the licensing business adds another aspect to her acumen – read more about Linda Mariano here.

The Moon from My Attic: As an art licensing agent, what's your standard way to find a new artist? Do you go by referrals or do you go through websites, portfolios, blogs or on-line shops? Or do prefer to meet them in person at licensing shows? There really isn’t a “standard” way to find new artists.  They come by all means and avenues – some come directly to me, others I seek out and find.  Social media has certainly made researching an artist and their work much easier and more complete.  Personally though I still love meeting with an artist in person – because art generates a reaction, becomes an experience – I like to get to know the artist behind the art a bit as we both consider the possibilities of working together.

TMFMA: When you view an artist’s work, what are the key elements you look for? Depends on if we are talking about for the purpose of art publishing or for art licensing.  Each has different aspects that should be considered.  For example if the artist wants to explore art publishing – either for limited edition or open edition framed prints – then the considerations are:

• First and foremost the composition of the artwork which includes everything from subject matter, style, perspective, color – is it compelling, does it draw you in, is it something you want to look at over and over again? 
• Is there a body of work that can be shown to a prospective dealer or gallery? 
• Has it been color captured properly to show the complete integrity of the original? 
• Is the artist established with galleries already? 
• What have the art’s sales to date been?

For art licensing, the considerations are all of the above, plus a few more!

• Is the artwork in a series or collection that has a unified look and feel? 
• Is the artwork a standard size and format that can be easily used for multiple product types?
• Is the artwork fully rendered – flat rather than sculptural – and in color? 
• Does it have broad appeal? 
• Does the artist have a clear understanding of the art licensing business, what it entails from the artist’s commitment? 
• Does the artist know the marketplace and what’s out there? 
• From a work style perspective, does the artist enjoy collaboration?  Working against deadlines and on the input and direction of others?

 
What's the worst error a new artist can make in looking for an agent? The very worst error is not doing your homework!  Just like anything else, you must understand the business before you leap into it!  The other error I think artists make is in thinking it is a fast solution to creating cash flow.  It takes months and even years to get a viable licensing revenue stream going – even for the most expert well-connected agent.  You can sign a license agreement tomorrow, but it may take 12-24 months for the product to get on the retail shelf and another several months for your first royalty check to be paid.

How does an artist know their work is right for licensing? So many times artists have a vision for where their art should be – mugs, calendars, purses, apparel, tabletop, the full gamut of product – but they don’t have an understanding of how the business works – either from a manufacturing or retail perspective.  Again this is where research come in – and that means being out in the stores, seeing what’s selling, going online, seeing what’s new.  Subscribing to newsletters and magazines, read the ads in newspapers, become a media junkie so you understand the marketplace.  Then you will have a pretty clear picture of how and where your art could fit into the picture.

What's your view of the current market and trends? Retail is still difficult – and I heard from a global economic expert that specialty stores will continue to shrink and consolidate over the next two years, especially women’s apparel.  But the worst of the global economic disaster seems to be behind us and we continue to see small baby steps toward improvements.  The good news is that artists are creative and resilient – and can respond when needed to shift their creative focus.  And as humans we need and want what artists produce – it makes us feel good no matter whether it’s the design on the coffee mug we use each morning or the paper products we buy for our daughter’s birthday party.  That’s a given – as artists and their agents we just have to connect with the right manufacturers to make it happen!

How do you see the future of licensing? The future of licensing is bright.  At the latest Surtex and Licensing Expo shows, there was a positive buzz in the aisles – both from the exhibitors and the attendees.  It think it is a good sign that retailers and manufacturers are eager to find new properties and new opportunities for engaging the consumer.  They must keep their assortments fresh in order to keep the momentum going.  Certainly, the majors in both entertainment and corporate brands will lead the parade – but I for one don’t mind letting them lead.  It’s stimulating the consumer – and once they are in the store, they will see more than just the parade leaders’ products.

What's your opinion of Surtex?  What do you recommend to a new artist as an entrance into licensing? Surtex has become one of the primary shows for art licensing.  It has grown over the last couple of years into a very viable resource that manufacturers and retailers alike depend upon for sourcing new artists and their work.  The first foray into any trade show should first be one of investigation and exploring.  By attending and walking both the Surtex and Licensing Expo shows, it is another means for doing your due diligence and research.  It is an investment in your business and understanding of the marketplace as a whole.  Each show also has a great education program that can be of great benefit to both new and experienced artists.

What do you offer as a consultant, as an optional choice to being an agent? As a consultant, I work with both emerging and experienced artists on evaluating their goals and setting strategies, developing their business model and creating the plan to make it happen.  Some of my clients have been artists for decades, but have only sold originals and are now wanting to expand their business into art publishing and licensing.  On the other hand, some of my clients are really just beginning to turn their creative talents into a viable business and need help exploring their options as well as establishing their focus.  And as we work together, if art licensing is one of the goals, we determine whether I am the best candidate to represent them or if another agent would be more appropriate to meet their goals.

Additionally, I have a number of artists that I represent for the purpose of licensing their artwork and developing and marketing their brand.

What other useful tips can you give to new artists starting out in this field of licensing? Be an empty sponge, soak in information from all avenues – artists, blogs, social media, online discussion groups, newsletters, trade publications, seminars, retail stores, all of it!  Become educated, learn the industry, meet artists and agents, network. And evaluate your work style – is it in tune with what is needed to make a licensing business really work?  You are organized, love deadlines, like to work with clients and respond to their input and desires, are business minded and eager to oversee all aspects of growing your business, are savvy on legal terms to protect your intellectual property.  If the answer is “yes” to each of those – then get ready and jump into licensing.  If the answer is “no” to even some of them – consider the assistance of a consultant and/or  agent to make it all come together.

Go here for more information on Linda as well as her contact information.