Friday, September 8, 2017

Ronnie Walter Talks About Making Money with Art Licensing and MORE!


Hey Ronnie! I consider you my go to person for all things art licensing. Would you take a minute and give us a little background on you for our readers?
Of course—I’m a licensed artist, writer, and also an art business coach and teacher. After getting my BFA I worked a variety of jobs in my quest - I worked in the ad department at a major retailer, sold color separations back when there was such a thing, became a staff illustrator and then Art Director at a stationery company, and then finally went out on my own as a freelance illustrator twenty-some years ago. In 2000, I formed Two town Studios with my husband Jim Marcotte, and we worked as licensing agents for a number of artists and properties for the next 16 years. I’ve licensed my art on all kinds of products including fabric, giftware, home goods, stationery, greeting cards and more. I am the creator and illustrator of the 17 Coloring CafĂ© coloring books, and have self- published and traditionally published a number of both fiction and non-fiction books including License to Draw. I tend to keep busy!


I like to think that my art led to writing, my writing led to coaching, and my coaching has now led me to teaching! It goes to show you that if you keep moving forward, our creative careers are ever-evolving and endlessly interesting! But as much as I love all of it, my first love has always been drawing, and coming up with interesting concepts to help people say the things they might not be able to say on their own—and that will never change!

I hear that you have a new service you are offering? Tell us a bit about it.
A few things are happening simultaneously around here!

I launched the first in my series of classes on Skillshare.com. How to Make Money with Art Licensing  is live now and is designed for artists to understand the basic details of the business—everything you need to find out if this is the best way to monetize your art, and how to get started doing it. It's an easy format, and it will only take you a little over an hour to go through the videos. An hour chock full of information!


I am also launching a live, multi-week class called The Licensing Ladder. It’s a more intensive class, positioned for artists that feel confidence in their art and portfolios (for the most part; I totally understand how a portfolio moves and changes as we do), but who are hesitating—or are flat out chickening out—and not getting their art in front of the clients who can license it. It's also for artists who may have had some traction, but feel like they are not hitting the right product categories or right potential clients.

I was not a natural salesperson, but once I decided that licensing was the right method to make money freelancing with my art I had to devise systems that got me in front of decision makers. I also needed a system to keep me confident so I wouldn’t panic each time I was ready to contact a new client. Participants in The Licensing Ladder will learn these systems—ways to identify your right clients, and then communicate with them in a manner that feels comfortable and not all “salesy”. (NOTE: Check with Ronnie on dates for The Licensing Ladder - Hurricane Irma has postponed it)


And there one more project I'm excited about. Over the past year or so I have been working on a planner specifically designed with people like us in mind. It’s called the Next! Planner for the Creative and Active Mind. I’ve gone through a beta testing period with a group of artists and creatives, and right now I’m putting the finishing touches on the publication copy. I also use it personally and love it - it works! It will be officially published in the next few weeks—don’t worry, I’ll let everyone know when it's out!

What types of things do you cover in the Licensing Ladder?
In The Licensing Ladder, I first help the participants identify key components of their work. Once we have that, we discover the product categories most likely to bring success, and then go through the steps to determine what manufacturers might best suit them. It’s a standardized, step by step repeatable process, and it works whether the artist is looking for clients or an agent. It’s worked for me, and it’s also working for the artists who tested the class with the me this summer.

One of the important features of this class is that it’s a live on-line class—so there’s lots of opportunity for interaction between me and the group as well as time for questions and answers. We DO actually talk about it! Because of that, I’m limiting it to 12 students so I can give maximum attention to everyone. All the details are on my website.

How do I (and our readers) know if this is a fit for me and what is the cost?
I wrote a blog post to help people decide which of the classes are right for them. (Read it here.)  Even if you have been around the licensing world for a while the Skillshare class (How to Make Money with Art Licensing) is a great refresher.

If you think you're ready to launch in licensing (or have already) and really want to see results for the hard work you’ve done on that portfolio, then The Licensing Ladder is for you!

Do you offer any follow up or support after I finish the class?
Why, funny you should ask because yes, I do! Each Licensing Ladder class will have their own private Facebook group, plus, after the 5 week class is over we will get together again in online live sessions at 30, 60, and 90 days so you don’t lose momentum once the lessons are over. They actually turn into reunion type of events because the class participants have become friends and are very supportive of each other.

Do you want to talk about Jim’s expertise/skills at all?
Jim? Jim who? Actually, I do! After our years working together as Two Town Studios we have developed a shorthand type of communication and collaboration. He weighs in on our overall strategy and helps behind the scenes on much of what we do, thank goodness! Not only does he know this business, he is an accomplished copywriter and editor, and is very good at polishing all of our marketing, communication and production copy. He also does that for some other established artists in the business - but he hasn't marketed that much, nor does he kiss and tell. If you need a sticky client or contract question answered, or a letter, sales or web copy written, he's your guy. I'm so lucky to have him. And Larry (the greatest rescue dog ever) too.

I thank my lucky stars every day to be living this life and doing the kind of work I love.

Find Ronniehttp://ronniewalter.com

Coming up! Ronnie will be joining my 2nd Thursday chat group, October 12th, 6:30 pm CST, on ArtLicensingShow.com . Answering questions around time management and more! Please join us, it is always a fun and interesting time :-D
 

Friday, August 25, 2017

Bo's bLAWg - Performance Provision


MJ Bogatin (“Bo”) of Bogatin, Corman & Gold, is an Arts and Entertainment Attorney in San Francisco.  He is also a long-time President of California Lawyers for the Arts. www.calawyersforthearts.org. Bo is available to answer some of your questions surrounding the business of Art Licensing. - THANKS BO!
 
Dear Bo,
I licensed some illustrations to a group that provides imagery to manufacturers.  Only one license was ever entered into to my knowledge.  It was provided on an exclusive basis!  My agents indicate that to their knowledge my illustration was never used on products as anticipated.  I want to leave this licensing group and recover rights to my illustration.  What are my rights?  Hillary


Dear Hillary,
There are a number of issues included in your question.  I cannot answer any of them definitively without looking at the existing contracts, but they are good for this bLAWg!
Here is how I would approach the matter.

First, I would look for the Performance Provisions of each contract, the one with your Agent group and with the manufacturer.  I would hope that you did not sign up long-term with this Agent without there being some minimum level of success with respect to licensing of your illustrations in particular.  Back in October of 2015 I discussed the use of “Minimum Thresholds” to insure that a manufacturer was making adequate use of your illustrations for the ongoing benefit of each party.  (see http://annietroe.blogspot.com/2015/10/bos-blawg-get-back-your-rights-royalty.html)

The same kind of Minimum Threshold approach can be used with an Agent.  They may need rights without minimum earnings for a year to ‘ramp up’ on their promotion of your artwork, but by the end of the second year I would hope and expect that they would have secured a sufficient number of advance$ to meet their own minimum expectations as well as yours.  As I mentioned in Oct. 2015, the Licensee’s or Agent’s own projections on these expectations can serve as the contract Minimum Threshold.  If the Agent will not agree to financial minimums, they may consider a minimum number of licenses to be obtained within the first two years of the Agreement.  If that expected minimum is not met, the provision would allow either Party to the Agreement the right to terminate it early.

With respect to the manufacturer, the common “Performance Provision” requires them to make use of your licensed imagery within a certain number of months since execution of the Agreement, or lose the licensed right to use your imagery.  The basic Performance Provision is intended to insure that your illustrations are not being ‘banked’ but must be used within a reasonable period of time.  If the manufacturer fails to move forward with the expected product use, you (or your Agent) would have the right to terminate and recover your rights to the imagery.  See if there is not a Performance Provision in the License signed, and if you do not already have the right to terminate that license.

I should mention here that sometimes the manufacturer is just about to go to market with a product featuring your illustration(s).  If they are ‘in breach’ by not meeting the “performance”  deadline of the original License, you can jam them up by given them notice of a breach of contract and demanding that they “cease and desist” from use of your imagery.  A compromise at that juncture might include a significant new additional advance on royalties.

However, do not overlook the possibility of a contract “Cure Provision.”  Does the manufacturer License give the manufacturer additional time to cure the claimed breach and avoid the termination right?  Many do.  In which case, not only must Notice of the Breach be given in the  manner specified in the License, but the manufacturer may be able to avoid the breach altogether by getting the product with your illustrations into distribution within the (usual) 30-day cure period.  Don’t be disappointed if that is exactly what occurs.  Isn’t that what you actually wanted in the first place – the products with your artwork in the marketplace?  Sometimes, the manufacturer just needs to be hurried along.  The Performance Provision can be useful for that purpose.

Disclaimer: The information contained in this website is not intended as legal advice. Because the law is not static, and one situation may differ from the next, we cannot assume responsibility for any actions taken based on information contained herein. Also, be aware that the law may vary from state. Therefore, this website cannot replace the advice of an experienced attorney. Receipt of this information does not create an attorney-client relationship. MJ Bogatin, Bogatin, Corman & Gold, www.bcgattorneys.com
© 2017 mjbogatin


Have a legal question? email it to info@AnnGraphics.com. I will forward it to Bo. It might be a blog post! You can search "Bo's bLAWg" to read more posts. I am looking forward to your comments and thanks for sharing this great information on social media.

Make my day! and Buy me a cup of coffee (PayPal Link in right side bar, you don't need a PayPal acct.)

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Friday, August 18, 2017

Agent Spotlight - Wild Apple

 

How long have you been in business and how did you come to be an agent?
We started in 1990 as a poster publisher. While Laurie and I were at art shows we kept getting asked by manufacturers (including company after company claiming to be the #1 puzzle company in Japan) how they could get the art for their products. At the same time, our artists kept asking us to take care of all the “business stuff” when manufacturers approached them directly. Finally, we followed the demand and became a licensing agent. It's been a wonderful decision that has helped us grow Wild Apple and the careers of many artists.

Who are the manufacturers you work with - how did you establish those relationships?
We work with manufacturers across home decor, bath, kitchen, gift and stationery. Our relationships go back decades with many, and almost all of our business is with repeat buyers. Each relationship started small, with just a few images and grew over time. We are continually reaching out and looking for new partnerships to grow our market base and "make the world more beautiful with art".

Do you have employees/help?
Currently, we have 35 employees.


How do you market artists?

  • We exhibit at Trade shows: Surtex, Licensing Expo, West Coast Art & Frame, FamaArt

  • Our new and improved website: www.wildapple.com

  • Videos like our 1-minute Artists Videos and new "in The Artist Studio" on YouTube

  • Bi-monthly email newsletters packed with trends and our monthly lookbooks that introduce new art and artists
  • Social media: Facebook, Twitter, Pinterest, Instagram, LinkedIn

  • Print ads in Li©ense and Art of Licensing

  • We attend the Atlanta and Vegas Markets to meet with customers

  • Sales visits to customers

  • Trend Reports
  • Blogging

What do you look for in an Artist?

Our artist base is diverse. We work with fine art painters, illustrators, and photographers. We are always on the lookout for artists creating fresh, trend-forward art with broad decorative appeal that is marketable into global home decor markets. We also love working with artists who love the challenge of an assignment and aren't afraid to expand their body of work into new and exciting directions.

How much work do you expect artists to create?
Each artist is different. We have some artists who create a steady stream of art and send us over 20 new pieces a month to chose from. Others send less. Our customers are looking for a steady stream of new art and patterns, so the more to work from the better.


Any great news you would like to share?
We were thrilled to launch a new website this past Spring that gives our customers better ways to search for art, a more powerful portfolio tool and better access to our Lookbooks, trend magazines, trend blogs and more.

We have introduced a number of new, amazing artists over the past year and a half including Phyllis Adams, Melissa Averinos, Felicity Bradley, Kellie Day,  Patsy Ducklow, Jan Griggs,  Piper Rhue, Miranda Thomas and Farida Zaman.

We recently hired a new National Licensing Accounts Manager - Tiffani Price! With over 25 years of sales, marketing, management and product development experience, she has first-hand experience delivering successful programs to retailers.

A new project we are very excited about is our collaboration with Rustic Wedding Chic www.rusticweddingchic.com to develop a new line of wedding-themed stationery - look for it at retail soon!

As one of the founders of the Art Copyright Coalition (http://www.artcopyright.net/), we are continuing our fight to protect art and creativity. Copyright infringement is still a huge problem globally. Working with other publishers and licensors we take action against infringers, raise awareness and educate retailers on the importance of copyright. We travel to China 2 to 3 times per year to walk the major shows, take down infringing products and work with overseas manufacturers to legitimately license art for their products. This work has led to a marked decrease in the number of illegal products we see at shows and new, productive partnerships.

 You can find Wild Apple's amazing art/artists, newsletter and more go to https://wildapple.com/

Make my day! and Buy me a cup of coffee (PayPal Link in right side bar, you don't need a PayPal acct.)
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Friday, August 11, 2017

Artist Spotlight - Emily Cromwell



Tell us a bit about yourself: Did you go to school for art? Are you self taught?  
Hi there! So my name is Emily Cromwell, I’ve been creating art ever since I can remember. I grew up taking art lessons, and drawing and creating in my free time. I went to school at Framingham State University where I majored in Illustration. They didn’t teach digital illustration there, so I had to teach myself. I got a Wacom tablet and just kept experimenting until I found my style!

Do you work in just one medium? Several?
I only work digitally on the computer. I always start out my designs first by sketching them in my sketchbook, but ultimately they’re brought to life with color on the computer where I paint digitally.

What inspires you / where do you get inspiration from?
I’m inspired by colorful and sparkly things! I get my inspiration from wanting to make people smile and feel happy. All of my artwork is created with vibrant colors, positive messages, and happy illustrations because I want people to feel joy and happiness when they look at my designs!


How did you start licensing your art?
I started licensing my art when I signed on with my art licensing agent. I don’t know where I would be without them!

What are you working on now?
Right now I’m working on catching up on Surtex requests for manufacturers. I’m also doing various freelance projects!

 

Any great advice for our readers?
Hmmm..some advice that I have to give is to always create art that you’re passionate about. People can tell when you create artwork that you’re happy with, so always make sure that you enjoy and love what you’re working on! I use music to help me do this sometimes! If I’m designing a Hawaiian pattern, I’ll pull up Youtube and stream a Hawaiian music playlist. I’ll do the same for Christmas, Halloween, summer, pretty much anything! Music really helps you to get in the mindset of what you’re designing, if you ever find that you’re struggling. =)

Anything else you would like to share with us?
I’m in the midst of signing my first licensing deal right now (YAY!), as well as working on creating more collections for both holidays and everyday themes. I’m also working towards getting a children’s book I wrote and illustrated, published or maybe even self-published.

 

Are you an early riser? or night owl?
Would you believe me if I said both?! I usually get up around 7am-9am, and I stay up creating until midnight-3am. My sleeping schedule is all over the place!

What is your favorite food?
Salmon!

You can find Emily:
Instagram: @emilycromwell
www.emilycromwell.com
www.emilycromwell.etsy.com

Want to be spotlighted? email me info@AnnGraphics.com. I am looking forward to your comments below and thanks for sharing this great information on social media.

 

Make my day! and Buy me a cup of coffee (PayPal Link in right side bar, you don't need a PayPal acct.)
Don't want to miss the good stuff? Sign up for my newsletter ;-) Really looking forward to your comments below!

 

 

Friday, July 21, 2017

Bo's bLAWg - Cost Benefit Analysis of Copyright Registration, and Derivative Works


MJ Bogatin (“Bo”) of Bogatin, Corman & Gold, is an Arts and Entertainment Attorney in San Francisco.  He is also a long-time President of California Lawyers for the Arts. www.calawyersforthearts.org. Bo is available to answer some of your questions surrounding the business of Art Licensing. - THANKS BO!

Dear Bo,
I have two questions if you don't mind. I am a casual print-on-demand artist for about eight years now. I have never registered my work for copyright.

1) Let's say I have about 100 designs published over time with about 30% of them actually sold through PODs. Am I understanding correctly that each design would now require a separate copyright at this late date? I do not know the dates of each uploaded image.

2) In the event I use the same design and change out the text in the picture do I copyright the design only or copyright each rendition including text? This question applies to color only changes too.

I bring in at most one to two thousand dollars of income a year. It seems like it is very costly for me to go back and copyright them at this late date. I currently don't license my work but have been approached several times over the years to consider it. I didn't have the time and knowledge back then but could be interested in the future.
“Anonymous”


Dear Anonymous,
First Q:   I agree that it is likely unduly expensive for you to individually register if you have in fact “published” your 100 +/- designs at different times, so would not be eligible to register them as a group such as “My Best Designs of 2016.”  You read last month’s bLAWg closely and are certain that the 70% that have never sold have in fact been ‘published”?  http://annietroe.blogspot.com/2017/06/bos-blawg-copyright-registration-of.html

As I mentioned last month, the designs must have been offered online or otherwise with the purpose to distribute copies to people who will license it for merchandise and further distribution.    If you have ‘merely’ displayed your designs online on your own website and not did necessarily specifically offered them to be licensed, some or all of the 70 might still be unpublished. And, as I mentioned last month, unpublished works can be registered in a group under a single fee if they are all yours alone.

Assuming that it is clear the 70 unlicensed designs were in fact clearly offered for licensed use, and they were not posted in groups that would qualify for registration together because they have the same publication date, then, to save money, I recommend that you focus on the designs that have been licensed.  It is likely that those designs will have broader public dissemination and thereby be more vulnerable to infringement. If a group of those 30 were licensed together, then they too could be registered as a group rather than individually.

Otherwise, pick and choose among the 30 as to popularity and quality and begin your registration efforts with those, since presumably, they are the ones that are most likely to be infringed, so you want the statutory benefits that accrue with registration before infringement for at least those.  Once you prevail on a copyright infringement claim, you may well be able to afford registration of all the designs you have ever created!

As for the changed designs, Q2, unless the text is sufficiently ‘creative,’ like an original poem, and not just a quip or caption, the short answer is yes, you would likely want to register the new work as appropriate. However, if the text you use are mere catchwords or phrases, mottoes, slogans, or short expressions, such verbiage is not eligible for copyright
(See https://www.copyright.gov/circs/circ34.pdf )

If the text is a new poem, but being used in conjunction with a previously registered image, it would be eligible for its own registration on the TX (text) application form, not as VA (Visual Art).

If you are just changing the color scheme to a previously registered design, I would say that you need not re-register the new color scheme.  Indeed, merely changing the color scheme is not likely eligible for a new registration as it lacks sufficient ‘new creative expression.’ 
(See https://www.copyright.gov/circs/circ34.pdf  ) 

It is interesting to note what the Copyright Office does offer as examples of derivative works of visual art that should be registered:
•  A sculpture based on a drawing;
•  A drawing based on a photograph, and
•  A lithograph    based    on a painting.

What all three of these have in common is that they truly transform the pre-existing artwork from one ‘medium’ to another.  Anything short of that level of transformation may not require a new registration.  What this means to me is that the new color version of your design has full copyright protection by the original registration, since it does not qualify for its own registration.

So, to the extent that this applies to a large number of your designs, maybe you can save some application fees after all!


Disclaimer: The information contained in this website is not intended as legal advice. Because the law is not static, and one situation may differ from the next, we cannot assume responsibility for any actions taken based on information contained herein. Also, be aware that the law may vary from state. Therefore, this website cannot replace the advice of an experienced attorney. Receipt of this information does not create an attorney-client relationship. MJ Bogatin, Bogatin, Corman & Gold, www.bcgattorneys.com
© 2017 mjbogatin 


Have a legal question? email it to info@AnnGraphics.com. I will forward it to Bo. It might be a blog post! You can search "Bo's bLAWg" to read more posts. I am looking forward to your comments and thanks for sharing this great information on social media.

Make my day! and Buy me a cup of coffee (PayPal Link in right side bar, you don't need a PayPal acct.)

 Don't want to miss the good stuff? Sign up for my newsletter ;-)

 

 

Friday, July 14, 2017

Agent Spotlight - Art House Design

 

How long have you been in business and how did you come to be an agent?  
I started my business in Hong Kong in 1991, I wanted to live in Asia for a while and I noticed that a lot of publishers moved their printing from Europe to Hong Kong. Subsequently there was a lot of demand for good quality European designs.

 

Who are the manufacturers you work with - how did you establish those relationships?  
We work with all the main card publishers in Europa, US and Australia. From small players who supply the small tobacco chain to Hallmark licensees.

Do you have employees/help? 
We work with salesmen in Asia and Latin America, all the designers we work with are freelancers although with some we work for 25 years already.

How do you market artists?  
We exhibit at several fairs like Frankfurt, New York, London. Further I still travel a lot to visit clients so I can emphasize new lines and designers. I still feel that in this time of internet it is still important to have personal contact with clients.

 

What do you look for in an Artist?  We prefer commercial artists over niche styles since we sell all over the world.

How much work do you expect an artists to create?
At least 50 a year but some arts may take more time.

Any great news you would like to share? We just released our new web page with over 20,000 arts. When the client logs in, it has a unique filter that filters out designs that were licensed in the country of the client. Therefore, clients are never frustrated that part of their selection is not available.

 

How has the Art Licensing business changed over the years?
Of course the internet has changed the business dramatically but it also helps to be in business 24/7 all over the world.

Any advice or information you would like to share? 
Travel, visit prospects and believe in what you do.

You can find Art House Design




Want to be spotlighted? email me info@AnnGraphics.com. I am looking forward to your comments and thanks for sharing this great information on social media.

 

Make my day! and Buy me a cup of coffee (PayPal Link in right side bar, you don't need a PayPal acct.)
Don't want to miss the good stuff? Sign up for my newsletter ;-) Really looking forward to your comments below!

 



Friday, July 7, 2017

Artist Spotlight - Pencil Parade Collective


 
Tell us a bit about your collective:
Pencil Parade met in an online class in 2015. Our personalities clicked while chatting in the private Facebook groups and thought it would be a good idea (and fun!) to join forces as a collective. We use Google Hangouts for formal meetings about once a month and have a private Facebook group that we are active on daily. It wasn't until May of 2017 that we finally met in person, to exhibit at Blue Print trade show in New York City.

Tell us a bit about yourselves: Did you go to school for art? Are you self taught?
None of us went to school for art, but we all did creative majors: Betsy and Megan went for Photography, Brooke went for film (and taught Paint and Sip classes!), and Katie majored in theater! We’re all self-taught in art and have lots of individual experience that help in our collective.

Do you work in just one medium? Several?
We all have a range of styles and sometimes we like to change it up!  We work with watercolor, gouache, india ink, and even digitally: painting in Photoshop, Procreate, or vector-based artwork in Illustrator.  

What inspires you / where do you get inspiration from?
Betsy: Having little kids around invites lots of colorful patterns, books and doodads into my house. I also like to pick up vintage cookbooks and fabric at thrift stores when I see something I like.

Brooke: I get inspiration from exploring my city and trying new experiences. Recently I did an Escape room; the set design of the room was so cool and I found an old book that had amazing patterns on the spine. I was also inspired earlier this year by the tiles in the bathroom of restaurant by the beach. I guess it's just being curious and paying attention to the little details of the spaces around me.

Katie: I'm often inspired by what's in my own "backyard." From my literal backyard garden, to the nature that surrounds me, objects in my home, vintage textiles, and children's books.

Megan: Living with an engineer is quite inspiring in itself.  Every project he does is very detailed and logical - this often works its way into my artwork as fun little details and interesting ‘ah-ha’s!  I also enjoy practicing yoga which has a way of making you stop and breath and allowing your mind to think of things in a different way.

 

How did you start licensing your art?
Betsy: My first license was with a sock company. I sent in some designs for a contest but didn't win, but a few months later they got in touch to ask if they could license one of the patterns I submitted.

Brooke: Of course, I've started business relationships by sending new art to companies on a regular basis, but the Pencil Parade art collective has really helped me in my art career. As a group we're able to send out postcards more frequently, have a really well curated instagram account, and reach out to potential clients with a much larger selection of artwork. I think all these efforts combined has resulted in people paying a bit more attention to us. And in essence, it's basically doubling our marketing efforts as an individual.

Katie: I opened an Etsy shop to start selling art prints, tea towels, and stationery items. The first thing I licensed was with a company that found my work on Etsy. Around the same time I was also developing an online portfolio and starting to actively contact companies that I hoped to work with.

Megan: I began licensing when my eyes were opened to it while working in-house at a textile company in LA.  I didn’t even know it was a thing until I saw the work artists were getting after they submitted.  My first license was and is with a greeting card company who I still work with today!

What are you working on now?
We’ll all knee-deep in holiday designs for clients and also some personal work here and there when we can fit it in.

 

Any great advice for our readers?
Betsy: I have an alarm on my phone that reminds me to submit to 2 companies every Monday. I don't always do it if I'm busy with other work, but it's a great reminder to share my work.

Brooke: Find ways to connect with your artist community! It gets lonely working alone and having people you can bounce ideas off of or ask questions, is so important.

Katie: I struggled for years trying to find a style or feeling anxious that I didn't have one. My biggest piece of advice for people in the same boat is to keep making work. It's in there already, you just need to work and it will come out all on its own and then continue to evolve and change. Also, find a support system. Joining my art collective, Pencil Parade, has been one of my best decisions yet. We support each other, help each other, and push each other too.

Megan: I agree with everyone else, and in addition, I actually have some online tutorials and classes to help intermediate to advanced designers.  A lot of them are more technology oriented. I talk a lot about using Photoshop and Illustrator to their fullest and how to work like a graphic designer and not just an illustrator.

Anything else you would like to share with us?
Betsy Siber is really excited to share her first fabric collection in a few months! In January, she signed on with Michael Miller Fabrics as an exclusive designer, and it has been a wonderful experience so far!  All four of us have recently signed on to a photo card company, too, which we're all excited about!

Are you all early risers? or night owls?
Betsy is the only night owl of our collective (the rest are early risers!), but Katie enjoys the quiet of a not-too-late night.

What is your favorite food?
Being in Southern California, Megan enjoys fabulous Mexican food, Betsy likes buttered toast and sushi (though not together!), and Katie says her weakness is French Fries.



Pencil Parade:

Betsy:

Brooke:

Katie:

Megan:
Classes: www.megandunagan.com/tutorials-classes/

Want to be spotlighted? email me info@AnnGraphics.com. I am looking forward to your comments and thanks for sharing this great information on social media.

 

Make my day! and Buy me a cup of coffee (PayPal Link in right side bar, you don't need a PayPal acct.)
Don't want to miss the good stuff? Sign up for my newsletter ;-) Really looking forward to your comments below!

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