Flexibility in Art Licensing - Artist Victoria Hutto

Licensing might not be the only source of income for an artist. The common tendency is to diversify. In fact many artists sell their art directly, through art galleries, online shops, and other art venues; some of them manufacture their own products as well. There are as many possibilities and opportunities as there are art styles. And to keep fresh and relevant in the industry it's key to understand what the markets need and want.

Our guest artist this week is a great example of how to be flexible and get your art on different products.

© Victoria Hutto - Just Be Free

The Moon from My Attic: Can you tell us about yourself and your art? My name is Victoria Hutto and I was born and raised in the San Francisco Bay Area. Like many artists, I can't remember a time where I didn't like to draw. My earliest memory is doodling Snoopy in the borders of my math book in middle school. I would love to have seen the expression of the next student who received my old math book.

When I was attending the University of California, Davis, I took a couple of art and design classes which confirmed my love for art. From there I transferred to the California College of Arts & Crafts in Oakland. It is currently known as the California College of the Arts. I graduated with a Bachelor of Fine Arts in Illustration. When I finished my degree, I went to work for Curtis Swann, a greeting card company in San Francisco and then from there I went to work for Sanrio, the creator of licensing great, Hello Kitty.

© Victoria Hutto - Jsut Be Kind 

I took a break from the gift market for several years and experimented with different mediums, such as designing a line of jewelry and developing a line of gourd art. When living in Dallas, my husband came across an ad for a designer for Jeanmarie Creations, a gift bag company in Oklahoma. I was not really looking for a job but sent some of my old greeting card samples. I was pleasantly surprised when they wanted to hire me. My thought was to stay long enough to learn how to use a computer. I had no idea I would end up staying there for 14 years.

TMFMA: What is exciting about your creative work? I love all forms of art. Since I make my living as a licensed artist, I found it advantageous to work digitally. But I also like working with three dimensional objects. The thought of creating something from "nothing" is very exciting to me. To be able to take a blank canvas, a document, a sheet of paper, even a gourd, and create something that sparks a smile or a conversation inspires me.

© Victoria Hutto - Fabrics

TMFMA: Is there a person or thing that has influenced you in your artistic efforts? What inspires you? When I was going to art school, I cherished my book on Maxfield Parrish. I love his use of color; the way he used color in his shadows and light. Color has continued to be an important aspect of my work. I am intrigued with the idea that art can bring a smile to someone's face. I found this in Mary Engelbreit's work. I enjoyed the playfulness in her art and I loved all the different type of products it appeared on. Looking a back now, I feel she was my first introduction to licensing. I remember wondering "how do I do that?"

TMFMA: What project are you currently working on? I just finished my first children's book, "12 Days of Christmas in Oklahoma," that will be coming out in October. And now I am currently working on a new series of designs. I like working on fun, bright whimsical designs, but I am always evolving. My new art style is a little different and recently debuted with Gango Edition - I think I might continue to develop this style.

© Victoria Hutto - Let It Snowmen

TMFMA: Tell us of your experience as an art licensing artist. I celebrated my first year as a full time licensing artist in June. I signed on with one of the top licensing agents, Suzanne Cruise. I told her that my dream is to have my artwork on everything that it could possibly apply on. She has done just that for me. I mostly started with two dimensional products, such as greeting cards, floor mats, flags, paper partyware etc., but I have grown to enjoy the aspects of developing products. My art has appeared on centerpieces, glass plates, ornaments, stocking holders, etc. You can see my work and products on my website.

© Victoria Hutto

TMFMA: Any important tips and tricks you can share or anything else you'd like to share? I work primarily digitally. I feel that this enables me to make the color changes and/or revisions quickly. Licensing is a tough business and I think the most important thing I have learned this year is to stay flexible. I had worked in the gift industry for over 20 years before I decided to license my work. Manufacturers have a need to fill. If you are willing to work with them to fill that need, it will help to build relationships. A good relationship with the client is very important in any business.

TMFMA: What are your future aspirations and goals? I would like to continue to evolve as an artist. I want to experiment with different mediums and combine them with my digital skills. I think this will keep my work fresh.

Brief Tips & Tricks in Art Licensing

Sometime ago I read an interesting thread about "Everyday" art that I thought would be interesting to new licensing artists; so what's "Everyday" art? 

If you wish to share your views about this topic, please feel free to leave us a comment.

Jane McCoy Maday • Generally, "Everyday" refers to art that is not for a specific holiday (or sometimes season). For example, a birthday card would be an "Everyday" design, whereas a Mother's Day card would not. Some winter designs do not fall into the Everyday category, because there is a "Winter Holiday" category that covers the whole general season (more than just Christmas). So if a client asks you to submit only Everyday art, you would send art that could apply any day of the year, for products that could be used any day.

Suzanne Cruise • For card companies, and many product companies, the year is divided into 4 categories: spring, summer, fall and winter, then they categorize from there. 

Generally, cards fall into Everyday and Seasonal categories. Birth days, deaths, weddings, baby arrivals, etc. all happen 365 days a year so are all considered Everyday. The sentiment on an Everyday piece can also be thinking of you, missing you, glad you are my friend/sis/mom/dad, thank you for....., congrats, etc. Seasonal consists of Christmas, New Years, Thanksgiving, Fall/Harvest, Halloween, but some companies include 4th of July, St. Patrick's, Valentine, Easter, etc. as Seasonal. It is a good idea to divide your work within these categories. And I would put all snowmen together, Santas together, Halloween together, we even group our Florals by specific flowers.

Bob Giordano • Can the design sell "Everyday" 365 a year? That's the question to ask as you view your files. And as stated above an Everyday design can cross-over. Particularly Mother's Day, Father's Day, Val and to a lesser extent Easter/Spring. In today's digital world it's only a few clicks to take an Everyday to an Occasional if verse alone can't swing the theme. Add hearts, Easter eggs, you get the idea I'm sure. 

Evolving Styles and Inspirational Imagery - Licensed Artist Susan Winget

You've probably heard the saying that people buy not so much based on logic but based on emotion. There is usually a subtle, emotional aspect involved, no matter how coldly logical and practical a purchase may seem. This video titled "The Carousel" (from the TV series Mad Man) illustrates this point really well, and it's also a good marketing lesson for those interested in getting their own art out there.

As artists, we try to inspire people with our works and vice versa we also get influenced by other artists through their techniques, compositions, and by their distinctive imagination.

Susan Winget's art is very inspiring indeed, through her high quality execution, themes and vision. So I am very thrilled to feature her this week!

Artist Susan Winget

The Moon from My Attic: Please introduce yourself - Hello, and thank you for the opportunity to interview on your blog! My name is Susan Winget and I am an artist in Charlotte, North Carolina. I have always loved art and began painting small watercolor paintings from my home when my husband, Al, and I started our family. One thing led to another and I have now been in the art licensing business for over twenty years! I never imagined my artwork and studio would become what it is today... definitely beyond my wildest dreams! To read my full "story" please visit my website.

TMFMA: What brought you to art in the first place? Art has always been a big part of my life. As a child I loved drawing and painting and dreamt of being an artist when I grew up - well that or a veterinarian (I love animals, too!) Being creative has always been a part of my day to day life and I am so fortunate to be able to make a living sharing this gift with others.

© Susan Winget - Butterfly Music

TMFMA: What's exciting about your creative work? The thing I get most excited about in my creative work is that it is changing all of the time. Over the years my work has evolved in ways I never imagined. I love experimenting with different styles and imagery and I'm always trying to "lean" into new trends and opportunities that will expand my portfolio.

TMFMA: What's your favorite medium or tool/s you create with? Watercolor is my medium of choice. I love the way the water and paint blend as my brush dances across the page - the paintings truly take on a life of their own. I also love my watercolor crayons - the look achieved from the layering and mixing of the paint and crayons is fabulous, and also fun to do.

© Susan Winget - Dragonfly & Bird

TMFMA: Who or what has inspired you in your art? My work is primarily inspired by my family, nature, and the wonderful artists I work with everyday. Al and I live on a farm where I am surrounded by the plants, birds, and other creatures that often make an appearance in my artwork. It is also my hope that my paintings would convey the love of family and warmth of home that I experience everyday on our farm. My latest little inspiration is my granddaughter, Mary, who recently turned one! Of course, I am also inspired by many great artists throughout history like Edgar Degas, Mary Cassatt, and Henri de Toulouse-Lautrec.

TMFMA: How long have you been doing art licensing? I have been in the licensing world for twenty years. My path to this industry was unique. Lang began publishing some of my watercolor paintings on greeting cards and after that I was fortunate to be approached by an agent. She taught me the ins and outs of the industry and I loved the new challenges that art licensing presented. From there, my studio learned how to make our art more dimensional for all kinds of products and textiles... I have been hooked ever since!

© Susan Winget - Rooster

TMFMA: Do you work with an agent or do you represent yourself? To me, working with an art agency is so important. When I started working with the agents at Courtney Davis Inc. my brand expanded immensely. I am so thankful to be able to focus on creating art while they handle marketing my brand and finding new ways to license my artwork.

TMFMA: What do you think the main trends are for 2012-2013? For my studio, the themes of nature continue to dominate. Flowers, birds, and butterflies continue to bring success. The bohemian style is definitely a major trend right now. The rich colors and funky patterns are so much fun to play with! It also continues to be important to add meaning to the artwork and designs through sentiment. I believe inspirational work continues to be on the rise.

© Susan Winget - Lighthouse & Fence

TMFMA: What advice would you give other artists that are considering the art licensing field? First, you need to create everyday. This is vital to finding your true "voice" and unique style to offer the licensing world. Also, you must be willing try new ideas and accept the opportunities and challenges that present themselves along the way. Listen to what the industry wants, keep up with trends, and enjoy the challenge. You never know what blessings await!

TMFMA: Any other useful info that you'd like to share about art licensing? My studio has recently accepted the saying, “be the hummingbird.” As hummingbirds are constantly seeking out the sweet nectar, we to have to try our best to search out the sweet stuff. Rejection is a part of this industry - not everything you create will become a success. But it is important, and vital, to focus on the positives. Remember to celebrate each success as it comes!

The Elegance of Textile Design: Laura Foster Nicholson

Perhaps this coming week I will sign my first contract for licensing... I'm thrilled at the prospect of this next great progression into this amazing market labyrinth and feel very excited that this possibility will actually happen and that some of my efforts will finally pay off! Crossing my fingers...

But dreams aside, let's talk textile licensing with our wonderful guest and artist Laura Foster Nicholson. After receiving a BFA and an MFA, she set off to develop her career as a fine artist making hand woven tapestries. She built a strong career, exhibited internationally, won prizes and grants, and got published. When she finally felt she could branch out ("it takes real focus to do that!" Laura says), she decided she really wanted to design woven textiles and explore the jacquard loom.

That interest has led Laura through interior design textiles to designing her own line of jacquard ribbons, and then to branch out into woven, embroidered and printed textiles for home furnishings companies. "It is all fun" - she says. "The fine art keeps me grounded and is the deep wellspring of rich ideas and the design work grows out of that and lightens it up to share with a wider audience."

LFN Textiles for Renaissance Ribbons, summer 2011
(courtesy RR)

TMFMA: What brought you to art in the first place? I’ve been involved in fine art & sewing since I was a child, I always knew I would be a fine artist. I majored in "fiber" in art school – the arty version of textiles – and never looked back. I am first and foremost a weaver of one-off, narrative tapestries. I enjoy designing textiles for industry as it is another way to make textiles and a different set of ideas to work with.

TMFMA: What's exciting about your creative work? I balance my career between fine gallery art and textile design, which includes designing a line of ribbons for Renaissance Ribbons, and I design household textiles under license with Crate & Barrel and Land of Nod. I love working with those companies and like figuring out how my distinct style can work with theirs.

I really enjoy working with museums to produce either textile designs or small runs of handmade items for them and am designing right now for the shop at Monticello, the home of Thomas Jefferson. This particular relationship came about because I had done an extensive series of tapestries about the vegetable garden there years ago, and I went to them and suggested we work together on products. Work like this gives me the opportunity to look into stories I am interested in and make or design something in response. The clients I work with tend to be curious, collaborative, and respectful of my position as a fine artist as well as a designer and craftsperson.

LFN Textiles for Monticello: table linens and china plates, 2011-2012
(courtesy Monticello)

TMFMA: What's your favorite medium or tool/s you create with? I love to weave and to sew. The knowledge of these skills helps in designing textile items, and I adore materials, so I can bring a tactile appreciation to designed product.

TMFMA: Who or what has inspired you in your art? William Morris has always been an influence as a designer who saw the total designed environment. I also took my MFA at Cranbrook, another “total environment” designed by Eliel Saarinen and furnished with textiles designed and made by his wife, Loja Saarinen.

TMFMA: How long have you been doing art licensing? I began pursuing licensing in the mid-90's with high end interior textiles companies and landed a contract with Jack Lenor Larsen. I had published some work wherein I had upholstered chairs with hand woven tapestry fabric, and Jack called me and invited me to collaborate with him. It was thrilling working with a master like him and seeing the direction he took my designs, which were all based on my handwoven tapestries. The downside was that I was frustrated when many of our developments were killed (Larsen was purchased by Cowtan & Tout while I was working with them) and all of this beautiful sampling came to naught – we did get one beautiful drapery fabric out. After that I tried for some time to design fabrics and get them produced myself – had I known the investment required I doubt I would have even tried! – and that segued into the ribbon business.

LFN Textiles for Crate & Barrel: Zak wool rug, 2012
(courtesy C&B)

I started LFN Textiles Artist's Ribbons around 2002 and designed, arranged manufactured, marketed, packaged and shipped etc etc. I was relieved when Renaissance Ribbons offered to buy my inventory and take over the business, leaving me free to design under license and work with them – they are wonderful collaborators. About that time I was approached by a buyer at Crate & Barrel who had found my ribbons and thought my style was a good fit, and that really gave me a boost in terms of two solid licensing partners. I love having designs out there with my mark on them, it makes my work and vision available to people who love my artwork but can't afford it. And it also allows for whimsy and lightheartedness and uses styles that would simply not work in my weavings. But it is important for me to balance both worlds – the intimate and personal world of my art with the polished and outward looking realm of design.

LFN Textile - Garden Floral Rugs

TMFMA: What brought you to exhibit for the first time and how many shows have you exhibited in - if any? I haven't exhibited at any licensing shows. I still do it all myself, though I am considering finding an agent who would take my work to shows.

TMFMA: Do you work with an agent or do you represent yourself? I represent myself. I think if I want to expand much further I might need to get an agent. I tried to work with one but I found it really restrictive as he told me exactly what he wanted, what colors, what was marketable. I am too old to follow orders like that!

TMFMA: How does one go about getting licensing deals? What's the "protocol" if any? I try to target potential clients with whom I have something in common. I have a great interest in gardens and in historic textiles, so botanical gardens and museums are natural niches for me. The market is quite a bit smaller, but you can build loyal relationships with clients in this way and it is immensely satisfying.

LFN Textiles for Renaissance Ribbons,
Spring 2012 satin jacquard ribbons
(photo Courtesy Renaissance Ribbons) 

TMFMA: What do you suggest new artists do to present themselves to the world of licensing for the first time? Be sure of your style, understand the application (it DOES matter whether it is going on a mug or on a textile), and be willing to be flexible enough to work with people easily but not so much that you lose your identity – unless you have no personal investment in yourself as an artist and only want the money.

TMFMA: Please give us your analysis of the market based on your own experience and contacts. Well, since I began in earnest in 2006 with two companies, one market – household textiles – has contracted and gotten more restricted in the chances they are willing to take, while my designed line of ribbons has expanded rapidly and sales are up.

TMFMA: In your view, what was of major interest to manufacturers this year? In my area, hand-drawing seems to be the request I hear over & over.

Hand woven brocaded tapestry by Laura Foster Nicholson,
Purple Loosestrife, 2007

TMFMA: What do you think the main trends are for 2012-2013? My clients are asking for more hand-drawn work, maybe pen & ink or watercolor washes. It is certainly a reaction to all of the vector-drawn, computerized design out there. In terms of color, I always look ahead to seek out colors I have not seen around for a long time and anticipate color trending in that way. Purple, for example, which came back full strength last year, now yellows, particularly those leaning towards chartreuse.

TMFMA: What advice would you give other artists that are considering the art licensing field? Take it with a lot of salt.  You must know your strengths and not try to be everything for every client, yet your work needs to respond to some trending.

LFN Textiles for Land of Nod:  Bedding set, 2011-2012

Find the trends you have sympathy with, which suit your personal strengths, and go for them. I don't go after fashion, for example, as I have always vastly preferred home decor fabrics.  You can develop a range of styles and techniques within your found niche. Dare to be different enough to attract attention, but don't ever simply imitate styles which seem the most popular.

The Inspirational World of Fine Art: Artist Tatiana Roulin

This week I want to share some inspiring sources. One is an interesting video that was recently shared within a licensing group on Facebook. It inspired me to dig a bit more into my own "why" I do what I do, which I simply stated to be this: "Making the world a better place through art." That's now my motto that I am using on my tearsheets, website, and so on. It feels good!

You can find the video here on TED.com: Simon Sinek: How great leaders inspire action.

And speaking of inspirational art, I want to introduce a new series of interviews I will be doing, which will be about fine art artists - many of us are fine art artists, illustrators and crafters in addition to being art licensing artists, so I thought this will be a fun addition to the blog for all of us.

My first interview features a wonderful artist, whose work is classic and beautiful; she is definitely doing her share of work to make the world a better place!

Fine Art Artist Tatiana Roulin

Her name is Tatiana Roulin and is an award-winning, internationally renowned New England representational painter whose primary mediums include oil, acrylic and pastel. She is a member of the Oil Painters of America (OPA) and the Pastel Society of America (PSA). She is also a member of several art associations in New England such as the North River Arts Society, Sharon Creative Arts Association, and Mansfield Art Association, to name a few.

Tatiana was born and grew up in Moscow. Eleven years ago she moved permanently to the USA where she resides with her family in the Greater Boston Area. An alumnus of Moscow Art College of Art and Graphics (summa cum laude), additionally she has been studying fine art for several years under a very well known Russian realistic oil painter, Yury Gusev. Her approach combines the classic atelier training of the "Russian Academic School" - largely based on techniques used by the Old Masters - with her own personal style expressed through the harmony of design, color and light. Currently Tatiana's art is represented by Art and Light Gallery in La Mesa (CA), Gina MW Gallery in Long Beach (CA), Xanadu Gallery in Scottsdale (AZ), Off Our Wall in Amesbury (MA) and Preservation Framer in North Attleboro (MA).

© Tatiana Roulin

The Moon from My Attic: What brought you to art in the first place? I realized that I was interested in art in my childhood. It all started when I was 4 years old girl; I dreamed of being a ballet dancer. Even though I didn't exactly happen to become a ballet dancer, I'd been dancing for 15 years until I quit doing it because of many complexities my life took on. I gave up what I loved doing the most but Art has always attracted me. My family owns a huge collection of art books started by my parents. They collected art folios, beautiful luxurious art albums and I keep on expanding this collection. I think my first influence came from those books about art, artists and art museums from around the world.

TMFMA: What's exciting about your creative work? Being creative and expressing my own visions and ideas with brush strokes is an exciting thing to do. It's hard to say what's most exciting. I think the whole process is.

© Tatiana Roulin

TMFMA: Who're your top-favorite fine art artists and why? As someone who has an academic training in Fine Art I always appreciate Old School techniques in paintings. I love when painting is very well done technically and visually. I have very many favorite artists so it would be hard to name them all here but I will name a few. I love artists from different art periods, from Renaissance to Contemporary Art. I have a board on Pinterest where I post art from my favorite artists. For example, one of my favorite artists is Yuliy Yulevich (Julius) Klever (1850-1924, Russian painter), who painted absolutely amazing landscapes which are greatly done technically and very beautiful and realistically rendered.

© Tatiana Roulin

From Russia, my favorite painters include Ilya Repin (1844-1930), Apollinary  Vasnetsov (1856-1933), Viktor Vasnetsov (1848-1926), Konstantin Makovsky (1846-1920), Vasily Polenov (1844–1927), Rafail Levitsky (1847–1940), Fedor Alekseev (1753 - 1824), and Ivan Bilibin (1876-1942).

I also love artists of the Pre-Raphaelite Brotherhood founded by Dante Gabriel Rossetti (1828–1882, English Painter). From contemporary masters my favorite artist is Richard Schmid.

© Tatiana Roulin

TMFMA: Tell us about a recent project you'd like to share. I used to create a series of artwork. Recently I've started a new portrait series called "Russian Costumes" that will be about National Russian costumes and traditions. In this series I'd like to represent the rich culture I came from - one of my favorites from this series is titled "Girl in Russian Costume".

TMFMA: Any other important info that you'd like to share about art? This year I published my first book about my still life paintings titled "Vibrant Still Lifes". Everyone who is interested in my art can buy this book via Blurb. I'm planning to publish my next book at the end of this year, but I cannot say now what this book will be about. Maybe my next book will feature my new still life paintings or perhaps it will be about my new series of "Russian Costumes," we'll see.

More of Tatiana's paintings are below:

© Tatiana Roulin

© Tatiana Roulin

© Tatiana Roulin