Showing posts with label Art business. Show all posts
Showing posts with label Art business. Show all posts

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 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.)
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Friday, April 14, 2017

Artist Spotlight - Jill Craig

 

Tell us a bit about yourself

There was something magical that would always happen when the paints came out in elementary school.  The blank paper, the colors, the brushes, the freedom to let my creativity run wild was irresistible to me.  I knew this was the job for me, no question about it; I was going to be an artist!

But how could I support myself painting and drawing?  Although I graduated with a degree in fine art with an emphasis on painting and printmaking, the art gallery world didn’t seem a comfortable fit for me at that time.  Therefore, as I considered careers, which would provide financial stability, becoming an elementary teacher would probably be a much better choice.  Plus there were those summer vacations!  Yes, then I could spend those summers painting and letting all that creativity loose, perfect!

Unfortunately, summer was never enough time to explore this missing part of my life.  In my continued search over the following years for a career that blended creativity and challenge I worked within the interior design and visual merchandising fields. Both careers involved working with color, balance and form which was very creative and fun.  Yet still missing was the opportunity to play with a blank canvas, splash in the paint and give life to a vision only I could see.



Maybe painting and making a product that I could sell would be the answer?   Based on my love of textiles I developed a line of hand painted decorative pillows, tablecloths and napkins.  Shortly I learned the price I would need to charge per piece would far exceed what the retail market would pay. It was through my research into having these products manufactured that I stumbled into the world of surface pattern design.   Enrolled in a series of surface design classes in the mid 90’s I was fortunate to meet two other very talented designers.  We formed a studio, created our portfolios and off we marched to exhibit at Surtex.  What a grand and eye opening experience for us, this was exactly the career I had been searching for all these years. We exhibited together at Surtex and licensed our work for many years to manufacturers and retail businesses.

Due to my exposure at Surtex I was hired as an in-house designer for a ceramic dishware manufacturer.   While working with this manufacturer I also had the opportunity to work with many freelance designers in providing art direction, not only for our in-house line of products but also for custom designs requested by our retail clients.  Each October and May I enjoyed doing the visual merchandising of our showroom during the Tabletop Shows in New York, it was a nice little chance to revisit that creative expression. 

After about 10 years working in-house I returned to freelancing yet continue to work on a contract basis with my former employer.  Since my freelancing days of long ago the industry and Surtex have changed.   We have gone from hand painting designs on paper to now submitting digital files.   Licensing has also changed over the years with options ranging from limited use, exclusive use, and much more common now, flat fee and outright purchase.  Freelance marketing strategies now are more varied to include websites, blogs, print on demand, Etsy, as well as exhibiting at industry shows.  Becoming a member of artlicensingshow.com has been an invaluable source providing connections with manufacturers, sharing industry news and offering an open and supportive community of very talented designers.



My connection with other designers and various design blogs and websites help me navigate the waters, smooth out the ride and help keep me engaged and positive on this freelance journey. Those who admit to having their doubts about being talented enough to forge through the difficult times encourage me.  There are times when that little personal critic sits on my shoulder and tries to convince me to give it all up, tells me I’m not cut out for this business.  I cherish and flourish during the days that little guy has no words for me. Maybe success isn’t a measure of what I can do or create on a given day but more about what I learned during the process.  Maybe it was the way those colors merged together in that little corner of my watercolor, or how that texture over there created interest.  Relying on these examples as measurements of my success for the day, I stockpile them in preparation for the next conversation with that little demon.

Apart from a specific theme or subject I have repeatedly tried to identify my style and have wrestled with this issue all these years.  As it has been with my creative career choices, how could I choose just one area of interest? All these career endeavors have added layers of complementary elements, each supporting the other.  As far as branding a specific art style I skip along a narrow path between traditional and painterly to graphic and whimsical styles.  Trying to convince myself to let one go and concentrate on the other seems such an impossible task for me. In many ways this split personality of styles has been a positive in my work with manufacturers and retailers.  For now, a specific brand style may remain illusive for me but I enjoy having these options for the flexibility and diversity of design work that may come my way.

So many things can be the catalyst of inspiration for me.  Of course nature and our visual world bring countless opportunities for creative expression, but also a memory, word or phrase, even music can take me to the drawing board.  I am also inspired by the work of other designers and so thankful they are willing to share information selflessly and offer support when I fear I am off track.



I love watercolor and it’s surprises, but all paints and inks are good for the cause.  Chalk and colored pencils have a home here in my studio, add a bit of collage material and stamping tools and the day is never long enough.  Needless to say, digital art has slipped in and adds a whole new experience to my creative life.   The variety of digital brushes, tools, filters and techniques are so numerous I often feel overwhelmed but am continually curious and anxious to explore them. 

I tend to be a night owl especially if I am working on my own collections, sometimes I just get lost in the process of creating, that rather obsessive drive you just can’t stop. If there is a deadline looming I can be found in the studio early and eager.  I guess this goes along with my split personality of style, the chameleon freelancer striving to make it all work.

Chocolate will always remain a favorite choice to satisfy a moment of craving, just as putting the final touch on a design satisfies the joy of being an artist.  I look forward to continuing on this unique journey, with the challenges, the new experiences and especially to breath life into the countless designs dancing through my mind.

You can find Jill:
Email:  jillcraig2@comcast.net

Website: www.jillcraigdesign.net

Facebook: www.facebook.com/jillcraigdesign

Member: artlicensingshow.com

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.)

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Friday, March 24, 2017

Agent Spotlight - Brenda Manley Designs


How long have you been in business and how did you come to be an agent? 
I worked 16 years for a paper tableware manufacturer in multiple positions.  Started as a graphic designer for catalogs, then promoted to designer, senior designer, assistant manager and finally design manager.  I created trend briefs, art directed and was an art buyer/licensee.  I had been attending Surtex for 10+ years.  At each show without fail, I was in complete awe of all the insane talent oozing from each booth. The creativity was intoxicating!  I have always had the entrepreneurial spirit so I decided to switch sides of the proverbial table. Since I am an artist first, my original intention was to freelance on my own.  Along the way I met emerging talent who had little experience in this industry. In my attempts to help some of them my agency developed organically. Some may see me being an artist as confusing while being an agent at the same time.  I reassure them that my art directing skills are stronger and that my creative output is rather infrequent. I truly feel being an artist combined with 16 years of manufacturing experience is a win/win situation.  I understand the demands of manufacturing deadlines and know the challenges designers face.  I thrive being the conduit to both sides!  So while we are in our 3rd year of business I bring over 28 years of design experience to the table with 19 of those years specializing in the social expressions/surface design industry.  

(Editor's note: you can click images to view larger)
Angel Gerardo - AG_0042_Joy to the World_CS

Who are the manufacturers you work with - how did you establish those relationships?
Relationships have been established via exhibiting at trade shows.  I have had the pleasure working with many outstanding manufacturers, some of which have requested to remain anonymous.  However, the following have granted permission to publish:  Amscan, Apache Mills, Claire’s Accessories, Clever Factory, C.R. Gibson, Demdaco, Design Design, Design House Greetings, DesignScapes, LLC, Groupe-Editor, Hallmark, Igloo, International Greetings, Michael Miller Fabrics, Mohawk, National Imports, Northcott Fabrics, Jillson Roberts, Lenox, Pier 1, Seaman Paper, Sterling Brands, Sullivan Paper, The Lindy Bowman Co., TJX, Unique and Wigwam Mills.

Do you have employees/help? 
I have recently been employing the help of a contractor who helps with admin and accounting.  This frees me up to do what I do best - support my artists, art direct, network and secure projects for our talented team!

Alyssa Kays - AKD_15C001_Candy_Christmas_Train_Card_OP

How do you market artists? 
Many ways!  Instagram, Facebook, Twitter, LinkedIn, newsletters, advertising in trade publications and exhibiting at trade shows. Oh, and several interviews here and there ;-)

What do you look for in an Artist? 
Passion, design style, originality, color sense, technical skills (PS and AI expert level) and authenticity as an individual.
Amiee Sue Malott - ASM_16078_Baby Collection

How much work do you expect an artists to create? 
I ask that they produce 12 new designs a month.  While this may vary per designer due to design style, it is a suggested guideline.  This helps them develop as an artist (the more we create, the more we develop).  It also helps keep our portfolio fresh so we are relevant to manufacturers who have little to no development time. 

Any great news you would like to share?  
We have a very desirable booth location this year at Surtex.  We are in booth 2707 - right in front of the entrance!  I’m so excited I can barely stand it!  Oh, and I also I have some very exciting news but it’s too soon to share.  Stay tuned!
Emma Schonenberg - ES_EXG16_005_Exotic_Garedn_01_OP_B
How has the Art Licensing business changed over the years?
I’ve seen a shift in manufacturers moving away from licensing and procuring artwork via purchasing artwork out right - full buy out.  This works well if manufacturers are equipped with an in house team to manipulate the artwork.  However, on the flip side, there are still many viable licensing opportunities available.  Each has it’s advantages and disadvantages.

Any advice or information you would like to share? 
I would say the most valuable piece of advice is to show up everyday no matter the circumstances.  Release the outcome of what you think it should look like. Just keep creating, dreaming, journaling and keep doing the necessary actions to achieve the next level on one’s goal/bucket list DESPITE the challenges, mistakes and disappointments.  For it is in these trying times that our character develops.  One with character, preparedness, and quality content rarely relies on luck to succeed - THEY FLOURISH!



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.)

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Friday, February 17, 2017

Agent Spotlight - Debby Leggat, Blue Sky Art & Design

 

How long have you been in business and how did you come to be an agent?
My career as a licensing agent began in 1994 when I started the licensing division at Wild Apple Graphics. Wild Apple was an established poster publisher, and a licensing division was a natural extension since, with a treasure trove of art, manufacturers were already approaching them with requests to use images on their products. It was a wonderful opportunity for me. My first choice would have been licensed artist myself, but a decided lack of ability disqualified me so I got to do the next best thing, which is to find licensing partners for the very talented artists I represent. Before becoming a licensing agent I worked at House & Garden magazine, sold advertising at Travel & Leisure, and handled public relations for an international trade group. All my prior experience has been very useful in what I do now.

What do you love most about the art licensing business?
There are so many things! Among them are:
• Finding talent that I believe has licensing potential and being proved right;
• Sending (big!) royalty checks to artists. Really, the bigger the better. If the artists are doing well, so is Blue Sky;
• Putting artists and manufacturers together. It’s extremely satisfying to find the perfect fit between image and product;
• Developing relationships and friendships with artists, manufacturers, and other agents. There are a lot of wonderful, talented, interesting, and hard-working people in art licensing, and I have enjoyed and continue to enjoy getting to know them through working together.



What do you like least about the art licensing business?
No question, dealing with copyright infringement. It quite literally makes me sick. I’m happy to say that often we have been able to convert a piracy to a legitimate license. There are times when infringement is inadvertent and not malicious, and the manufacturer is usually anxious to making things right.  However there are also those times when the infringement is deliberate and there’s a ‘guess we didn’t get away with that’ or a ‘we dispute your claim and will keep the dispute going forever until you go away’ attitude, or a ‘we’re too big for you to fight’ approach which is infuriating. Art Licensing is a relatively small field so word can travel pretty fast about the bad actors, but there is still far too much.

Who are the manufacturers you work with - how did you establish those relationships?
We work with manufacturers across the board from stationery to decorative accessories, wall dĂ©cor, rugs and mats, tabletop and ceramics, gift. Many of our relationships are long—standing, established years ago and are on-going. For the most part they began at a trade show where the licensees were exhibiting or through cold calling and e-mailing. There’s no magic or trick to finding licensees: perusing trade publications, shopping the stores, both big box and small gift shops, and attending the trade shows are the obvious ways to find prospects. After that it’s a matter of perseverance.

How do you market artists?
By attending the gift and trade markets in Atlanta and New York, which gives us the opportunity to meet face-to-face with our licensees. We exhibit at Surtex, but sporadically. Last year was very good for us, so we’ll be there again in May, but we evaluate after every show to determine it’s worth.

Beyond that we market artists largely through email: I believe in edited, tailored presentations designed to appeal to whichever category or specific licensee we’re targeting. I want my contacts to want to open the submissions that come from Blue Sky because they’re relevant to what the manufacturer is doing.  We’re conscious of not wanting to waste anyone’s precious time.

Finally, we use our website and facebook page as much as possible. Our website is up-dated frequently to reflect the newest images and facebook allows for regular up-dates on what’s happening with our artists and licensees.


What do you look for in an Artist?
We look for:
• Applicability of the artwork to a range of products. If I can’t easily visualize it on a minimum of three to four product categories it probably won’t work;
• The artist’s recognition that art licensing is a commercial venture. That means the work may have to follow trends, be altered to suit a licensee’s needs and might not be used at all;
• The artist’s commitment to licensing by producing new work regularly, ability to resist discouragement, and patience, since the payoff can be a long ways out;
• An artist that sees licensing representation as a partnership—neither of us works for the other, but we are working together to build something.

How much work do you expect an artists to create?
I’ve never understood this question. It’s a little like asking ‘How successful do you want to be?’ I know that every artist produces new work at his or her own rate, but the simple answer is the more art that’s produced the greater the likelihood of success. That said, one artist can produce ten pieces that don’t go anywhere, another can produce one that gets licensed all over, so in that case it’s a matter of quality over quantity.

There really is no short answer either, but I will say that Jane Maday, one of Blue Sky’s top artists is also the top producer of new work. She was already an experienced licensed artist when we started working together, but even so, she never stops pushing herself in new directions with techniques and approaches so her licensing program will move into new categories. She treats art licensing as the full-time job that it is and that discipline and ambition are largely responsible for her success


How has the Art Licensing business changed over the years?
When I started in art licensing there was a lot of resistance from manufacturers to using outside artists. Many companies had in-house design staff so they couldn’t see incurring additional expense for something they already had, they felt the accounting was going to be a hassle, and they’d have to increase prices to accommodate the royalty. Then, as it became clear that certain artists like Mary Engelbreit, Susan Winget and some others were selling a lot of product, those attitudes started to shift; before very long a lot of companies had given up their in-house artists and began to rely exclusively on outside artwork.

Then the internet provided a huge shift in the art licensing business. The advent of email and the now ubiquitous image software removed any barriers to entry for would-be art licensors. Many bloggers, Etsy shop owners and individual artists with computer connections are now successful art licensors. There’s more competition, but there are more opportunities as well.

What’s new at Blue Sky Art & Design?
There’s always great new artwork. Jane Maday is at work on a wonderful series of Vintage Journal Sketches that she’s painting in an old ledger bought online. There are already over 40 images of wildlife, Spring, coastal, inspiration, and holiday to name just a few of the themes. Veteran licensed artist Wendy Russell is adding to her Bird Dog series which got an immediate and enthusiastic response when first introduced.

In addition, Blue Sky has recently added several talented, experienced and FUN artists: Swirly Designs, comprised of husband and wife Paul and Lianne Stoddard make bright, colorful and imaginative ornaments from clay. Their work is already being developed for collectibles and gifts. Their images are also translated to flat art for multiple other uses; Nancy Archer is hard at work on new collections of patterns for stationery, fabric, tabletop and more; and artist Barbara Behr, well-known in Germany and new to the American market is making a big impression with her Victoriana collages and imaginative compositions. All this newness keeps things exciting!



You can find Blue Sky Art & Design
www.blueskyartandddesign.com
https://www.facebook.com/BlueSkyArtDesignInc/
Surtex 2017 booth #2824 May 21-23, 2017
debby@blueskyartanddesign.com

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Friday, February 3, 2017

Artist Spotlight - Amy Kirkpatrick

 

Tell us a bit about yourself: Did you go to school for art? Are you self taught? 
Art became my passion at a very young age. Living in South Florida, my parents set up a little art desk for me to keep myself entertained during their long hours working at a local newspaper they owned. I went through coloring books so fast that my mother finally gave me a stack of blank paper and told me to make my own.

I excelled in art through high school and received a BFA degree from Florida State University in Studio Art with an emphasis in graphic design. My first job was at a check printer, John Harland Company in Atlanta, Georgia. I have since created designs and illustrations for many Fortune 500 companies including high tech companies such as Oracle and Cisco, universities, power companies, hospitals and medical companies, industrial manufacturers, including fashion icons such as Adidas and my personal favorite, Ashworth Golf Wear.

Often my work was done through advertising agencies or design boutiques, but some were full time corporate jobs such as Oracle, where I created illustrations for web-based training. I have designed about every kind of corporate collateral you can think of along with logos, software user interface, and web advertising and design.

In 2000, I began freelancing and found myself often waiting for proofing revisions. To keep myself busy while I waited, I'd paint. I started selling my art on eBay just to see what would happen and they sold! As my confidence and sales have grown, I am only doing graphic design for my own art business now.

Do you work in just one medium? Several?
I started out painting with acrylic, but after taking a community class in watercolor, I became forever hooked with the way it blends and blossoms. I absolutely love it.

I have full knowledge of Adobe Creative Suite and spend a great deal of time on the computer.

I also do a lot of gel pen drawings. After I bought a pack at Costco on a whim, I fell in love with them. However, I have not released my gel pen drawings, yet. There's the issue of reproduction quality because of their reflective nature, so I do them for my own amusement. I have about 100 finished pieces but they are so different than my watercolor paintings that I'm still deciding the best way to market them.


What inspires you / where do you get inspiration from?
I am mostly inspired by nature. I love painting living things. I also enjoy taking art classes for inspiration and to be around other artists. I am lucky to live in San Diego with access to world class watercolor teachers and the San Diego Watercolor Society that brings in outstanding visiting artists. This year, I took a class with Charles Reid and for the first time, attempted painting portraits of people. Since then, I found a group of artists that meet every Friday at one of our libraries with uninstructed portrait drawing and painting with live models. It has been great fun.

How did you start licensing your art?
My first big break was with Better Homes & Gardens publications in 2011. I had painted a couple butterflies and shown them to a friend who immediately wanted to buy them. She was planning to remodel her kitchen for a BHG publication. My butterflies became the theme of the remodel and ended up in two magazines as well as online. I decided I better paint more before the magazines came out so I challenged myself to paint 100 butterflies in 100 days. My butterflies were immediately picked up by an art licensing buyer and have been selling worldwide.

More licensing opportunities have come to me directly through my Etsy shop where I sell my originals and signed giclées. AmyKirkpatrickArt.com

What are you working on now?
I have nearly 600 paintings and always have several I'm working on. I do all the scanning and processing for prints myself which is very time consuming. My goal for 2017 is to get them all scanned so I can begin showing them online. They can't sell if no one can see them! All this while I continue to paint.

I paint what makes me happy and hope my joy shows through to make someone else happy.


Any great advice for our readers?
A friend and I tease that whoever dies with the most paints wins! But in truth, it's not about how many colors you have, but what you can do with the colors you have. My advice is to always be practicing and try to come up with your own unique ideas and style.

The best advice I received when I first started selling was from a gallery sales trainer. He told me to decide what kind of artist I wanted to be. There are many paths an artist can take and each requires a different level of skill, subject, style, and self-promotion. For example, what sells in a gallery won't necessarily sell to a product manufacturer. He was the first person to talk to me about art licensing.

Anything else you would like to share with us?
I paint because I love it. I think it may be an addiction. I have so much in my head that I want to paint that sometimes I can become paralyzed with too many ideas. I keep an ongoing list and a sketchbook of my ideas. I surprise myself sometimes when I review them and see something I think is really good that I had forgotten about. I am always grateful for having the forethought to document it, because how many ideas have I lost because I didn't do a quick sketch?

I do not have an agent. I have done very little self-promotion with manufacturers but have been fortunate for those that have found my art and contacted me. My most recent licensing agreement has gotten my art in the wall art section of Wayfair.

Are you an early riser? or night owl?
I am not an early riser. Since my husband gets up at 6:00am, he thinks I've slept half the day away when, as he puts it, I "finally" get up at 8:00am. To me, that's my perk of self-employment.

What is your favorite food?

My favorite food is Thai food. I love a good Penang curry!



You can find Amy:

amykirkpatrick@roadrunner.com
AmyKirkpatrickFineArt.com
AmyKirkpatrickArt.com (Etsy)
AmyPrints.com (Fine Art America)
Facebook.com/AmyKirkpatrickFineArt
www.instagram.com/amykirkpatrickart
twitter.com/ak_art

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

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Friday, January 6, 2017

Spotlight on All Art Licensing, J’net Smith

 

First tell us a bit about yourself.
I grew up in Salem, Oregon. It was a wonderful childhood full of 4-H, beach combing, boating and fishing with my Dad and brother, and crafting and painting with my mother. I graduated with a combined B.S. in journalism and marketing.  After a few years at a Seattle ad agency, I moved without a job to NYC to expand my horizons and see what I could do with my life. I worked for a major travel publisher for the first five years and travelled the world, usually taking 10-12 international trips a year. It was a blast! When I went to work for the president of Macmillan Publishing, I began licensing an English as a Second Language television course in conjunction with the USIA (United States Information Agency). This is where I learned about the global power of licensing.

I pursued a job at United Media (the licensing division of United Feature Syndicate), where all the licensing for Peanuts was done at the time. After being hired, I was asked to work on all the lesser known characters, including Nancy and Sluggo, Marmaduke, Over the Hedge and Dilbert.  I built the Dilbert business from its infancy into the first corporate global icon, generating more than $200 million a year in sales in more than 45 countries.

After seven years at United Media, three years as Vice President Licensing, I decided to start my own business and moved back to the West Coast, where I also started my family. My husband, Ric, and I have a son who just turned 12. At first I worked under the name J’net Smith Inc. and in 2006, I created All Art Licensing.


Would you please summarize all that you do!
All Art Licensing has two divisions, the ABC School of Licensing, which is currently still in development and includes all of our video and audio products, live classes, eBooks, templates and other educational elements, and our personal services which fall primarily into 3 categories – coaching (I help you decide what needs to be done and teach you how to do it yourself, often providing contacts and information), consulting (I do the work for you) and agenting (I occasionally still represent artists, cartoonists, brands, authors and other creatives to market their work to manufacturers, producers, retailers and others in the position to license their work).

I am first and foremost a brand developer. With all clients, whether artists, cartoonists, authors and other creators, I help them envision the big picture and then find the most efficient pathway to generate money with their creativity and IP (intellectual property). I can also help them do it. A lot of what I do is eliminate hours of unnecessary work with information, knowledge and connections. I love working with artists and getting them ready for the million-dollar deal, also helping them learn how to become less vulnerable and realize that they have the power to do anything they want!

Do you have employees/help?
Yes. I have a number of people I work with on a daily basis, both in my office and through virtual connections. In addition, I have strategic partnerships with designers, cartoonists, manufacturers, retailers, publishers, producers, attorneys, videographers, specialized agents, publicist, webmasters and other experts in their fields, whom I call on for all types of projects.  No one is an island, you need relationships and the right connections to get the job done.

How does Agenting and or Consulting/Coaching work if an artist comes to you for help? What do you look for in an artist/character/brand?
When a creator comes to me they usually have an idea of how they want to work. If they are looking for an agent, they say so up front. Agents work on a percentage of the licensing revenue that they bring in for a client and the commission share can vary widely.  I try to be very reasonable, and I take on only a few clients at a time. For consulting work, the client usually comes with an idea of what they are looking for and ask if X number of hours will do the job. I guide them, so that they get the most bang for the buck. Often what they think they need/want is different from what they actually need/want. We work through that in the most economical way possible.

The difference between consulting and coaching is that in consulting I do the work for the client, whereas in coaching I teach and guide the creator so that they can save money and do a lot of it themselves.  Honestly, people have talents they aren’t even aware of...and I like to drill down to see what and how much they can do, and want to do.  With the right guidance at those critical junctures, many people can do far more than they ever imagined!  I have many clients who have been with me for years. They often come once or twice a year for direction and guidance, or for a specific purpose, such as advice on a contract or to prepare for a negotiation.  Whatever help they request and need, that’s what I do.

Artists sometimes come to me for coaching, but if I see they need basic licensing education before entering into the licensing arena, this is why I am developing the ABC School of Licensing courses. The video courses and eBooks provide very detailed industry knowledge and ‘how to’ information at a price-point that the average artist can afford. I wouldn’t want to steer an artist toward investing in personal coaching, if they can get the information in a more economical format.

What I look for in an artist/character/brand varies greatly.  I am very interested in artists and designers with a specific style and bent, especially those who are on the cutting edge of trends or those who cover a multitude of themes in their work.   It’s really exciting to find prolific creators, who also have technical skills. For characters. I look for a well-thought-out concept that has a unique niche.  Whether art or characters, knowing your target audience is key.  And, of course, I love finding those creators with pure raw talent.

How has the Art Licensing business changed over the years?
Oh, it’s changed quite a bit since I started. 
First of all, there is a lot more information available to artists wanting to get into this business. But I find that creators need more help than ever sorting through the information, identifying what’s valuable (will make money) and making sense of it all.  A coaching session 1-2x a year can help a great deal, especially when you have decided to market yourself and not utilize the services of an agent.  Or to help you find the right agent.

Second, there is a lot more competition in the marketplace today with more artists than ever wanting to get into the art licensing industry, while many manufacturers continue to be risk-adverse and scared to try new artists and brands.

Third, the technological advances in the last ten years have made a huge impact on what you can do as an artist.  From being able to create your own website and product store to print-on-demand manufacturing opportunities and the ability to broadcast art, cartoons and all types of content to the world platform vs. a local stage.  Again, literally, mind-bogglingly amazing!  It creates a huge playing field, as never experienced before.  For those who are up to the challenges, it’s incredibly exciting.

What sort of resources do you offer?
I think one of the biggest resources All Art Licensing offers, in addition to our training, strategic planning, brand development, contract advice and negotiation services—to name a few—is our eighty free Minicourses available on our website.  Each one is a question I answer, from artists around the world – a kind of bite-size class available all day, every day for everyone.  Scroll through the questions and I’m sure you will find something of interest that you can learn from. I find many creators, that are new to licensing, don’t even know what questions to ask and which questions and answers will be most valuable. The Minicourses give you a fantastic place to start and everyone can get a feel for the quality and type of information and advice I provide. We are also offering a great deal of information through our social media platforms.

Any great news you would like to share?
Yes, as a matter of fact, All Art Licensing is creating more training courses and will have more products available in more different learning modes than ever (streaming, video, audio, chat, conferences, etc.), under our new moniker of ABC School of Licensing (A=Art, B=Brands, C=Characters), so please watch as we develop this over the coming year. And I would love to hear from your readers what challenges them and what they want to learn about most. 

Any advice or information you would like to share?
I would recommend creators get advice on how to grow their business sooner rather than later…and focus. It’s amazing what you can achieve when you focus, execute and then move on to the next target, rather than taking a shotgun approach and just seeing what you can hit.

 
You can find J’net
Website: http://www.allartlicensing.com/
Blog: http://www.allartlicensing.com/blog/
Facebook: https://www.facebook.com/allartlicensing
Twitter: https://twitter.com/AllArtLicensing
LinkedIn: https://www.linkedin.com/in/jeanette-smith-91ab7a6/

 

Note: J'net will be answering question live on February 9th in my 2nd Thursdays text chat group on ArtLicensingShow.com. ALL paid members of ArtLicensingShow.com are welcome to join us! Send your questions to me, or post then in the comments below. info@AnnGraphics.com

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

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Friday, December 2, 2016

Artist Spotlight - Steph Calvert

 
 

Tell us a bit about yourself: Did you go to school for art? Are you self taught? 
I was the arty kid back in school; I can still remember getting in trouble in seventh grade for looking out the window and drawing instead of paying attention in class. Strangely enough, in high school I was fighting that and seriously thinking about going to school to be a vet - I even took classes like Latin (nerd alert!) that I thought would be helpful in college...

And then junior year, I remembered that vets deal with blood and needles.

So that was the end of that.

I went to Savannah College of Art and Design and graduated with a BFA in computer art in the spring of 1999, focusing on 2D hand drawn animation. When I came out of school, there was less and less traditional animation positions - especially for a newbie with no work experience - so I've been adapting my skills ever since.

I've worked as an in-house artist for OshKosh B'Gosh, I've illustrated two travel themed coloring books, and most recently I've created repeat patterns and t-shirt graphics for Kohl's as well as created a custom pizza box for a client that's literally COVERED with hand lettering and fun drawings! There's some really exciting new opportunities that have been coming in, but it's a tad too early to mention specifics. 

Do you work in just one medium? Several?
As I've grown with my art over the years, fresh techniques get added to my process. Within the last year I feel like I've really honed in on my "style". It's all about digital painting in Photoshop, mixing in layers of hand lettering created with either paint or markers, and bringing lots of hand drawn or painted textures to the party. It's a great way to create pieces that are easy to work with on the production side of things, but I'm not chained to the computer every step of the way.

20+ years of creating artwork professionally on computers has left me always thinking and creating in layers and workability for production. When I draw with markers or paint in traditional media - acrylics, watercolors, or gouache, I usually play around on paper, and then scan everything into the computer at as high a resolution as possible and pull together my finished pieces there. Live trace, vector bits, and smart objects are my best friends. Outside of my husband of course.

I really like the control I have in Photoshop - I can call out specific Pantones, I can get more precise, I can edit that one little stray line that isn't quite working with the rest of the piece. Most importantly, everything and I mean everything is separated out into layers so I can go back and change things easily. Photoshop gives my clients peace of mind knowing the ease of production and editing they'll experience while working with me.


What inspires you / where do you get inspiration from?
I pull so much inspiration from my life! I've been a self employed work at home mom since our son Phil was born in 2010. Nowadays, he's in kindergarten, but his little sister Joy will be in the studio with me until she starts pre-K in a couple of years. My family is hilarious - there's lots to get inspired by.

My latest collection for licensing, This is Halloween, is inspired by some decorations my son Phil and I bought ages ago at a dollar store. My kids love the fun characters and the bright happy colors - even though those little cardboard cutouts have taken a serious beating over the years, they HAVE to have them on the walls every year! I wanted to create a group that made kids smile just as much, in colors that were classic and easy to work with alongside someone's existing Halloween home decor. I've also got a few kids book ideas on tap based on funny things that we've experienced as parents, and don't even get me started on all of the greeting card designs I'm starting to work up based on hilarious one liners that have been blurted out in our house over the years!

How did you start licensing your art?
As I ventured on the path of self employment, I was finding more and more clients were asking for web design. I was happy to oblige; I was great at it and the paycheck was fairly steady. But over time, I was finding that I was becoming more and more unhappy with my work. I missed drawing. About a year ago, I slowly started to pull away from web design; I took advantage of the Black Friday deal on some Make Art that Sells courses from Lilla Rogers, I worked my way through Julia Cameron's The Artist's Way and actually stuck it out through all twelve weeks over the summer... taking the leap of faith is really what helped push me towards art licensing.


What are you working on now?
I'm wrapping up 2016 with lots of great Christmas art that'll be available for licensing, and I'm fine tuning what art I'll be working on each month for 2017. I'm playing with the idea of working within a theme for each month, a month ahead of time. So January I'll work on all things love, so I have lots of great Valentine's theme art to share all February long.

I'm also honing in on what I want my Instagram feed to look like, because that's a great way to get exposure. The balance for me is to share enough to get art directors interested, without giving away the really good stuff. One of my strengths after so much time spent working as an apparel illustrator is coming up with funny sayings that haven't been totally overused in the marketplace. It's been interesting trying to figure out how to share without sharing too much if that makes sense.

Any great advice for our readers?
Failure is for quitters - if you don't ever give up on your art, you'll never fail.

Before I shifted focus to my illustration work, there was a lot of things I was pretty attached to - like my old business name. As I started working with my agent, I quickly started to realize that if I wanted real and drastic change in my career, I needed to be as open as possible to that change! Here we are six months later - I've got a new website, a growing portfolio that's finally showing a cohesive and distinct style, and lots of prospective projects on the horizon. None of this would have been possible if I stubbornly held on to the old ways.

And keep in mind - an illustration agent isn't the silver bullet that is going to make a deluge of work come busting down your door the second you sign on. When you connect with an agent, marketing your work is still your responsibility, but now the exciting thing is you're part of a team. There's more than one of you working on bringing in projects and licensing deals - they're an advocate for you if a project goes south, and can be an amazing sounding board as you work through the direction your career needs to take. My agent Liz Sanders has been so key in helping to shape my illustration adventure!

Anything else you would like to share with us?
I'm always learning something new - it keeps things interesting. A couple of months ago my friend Kim and I took an oil painting class for the first time, and we were hooked! I don't know how well oils would work for art licensing since it takes such a long time for the paint to dry, but I'm definitely continuing to explore this medium moving forward.

I have a group of artwork that'll be seen on girls t-shirts in Kohls in Spring 2017, and I'll also be working on a kids book pitch for one of my many ideas to start shopping around next year. I'm looking forward to connecting with a literary agent that works with illustrator authors for some really fun titles!
 
Are you an early riser? or night owl?

As much as I'd love to be a night owl... I'm definitely an early bird. Even when the kids don't wake up horrendously early on a summer morning, I'm still wide awake by 8am.

The upside? There's coffee.
 
What is your favorite food?

All of it... Is all of it an answer?

I just like snacks is all.

But if I had to narrow it down...

I'd have to say cookies, coffee, macarons, chocolate, pizza, chips, salsa, donuts, cakes, pies, ice cream, fried chicken, cream puffs, bacon, marshmallows, Jelly Bellys, burritos, hamburgers, spaghetti, crab legs, charcuterie plates, grilled cheese sandwiches, quiche, soup, deep fried Oreos, deviled eggs, the candy parts of trail mix, midnight pancake parties, muffins, steak, and all you can eat buffets. And cheesecake.





You can find Steph:
Liz Sanders Agency: http://lizsanders.com/
Email: hi@stephcalvertart.com
Portfolio: http://stephcalvertart.com
Facebook: http://facebook.com/stephcalvertart
Instagram: http://instagram.com/stephcalvertart
Twitter: http://twitter.com/stephcalvertart
Pinterest: http://pinterest.com/stephcalvertart
LinkedIn: http://linkedin.com/in/stephcalvert
Behance: https://www.behance.net/stephcalvertart
Tumblr: http://stephcalvertart.tumblr.com

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 ;-) Want to be spotlighted? email me: info@AnnGraphics.com

 


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