Showing posts with label agency. Show all posts
Showing posts with label agency. Show all posts

Friday, February 24, 2017

Bo's bLAWg - Continuation Fees to Licensing Agents

 

 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!

My Agreement with my licensing agent is expiring.  It is my understanding that she gets to receive her commission on licenses that she negotiated.  Can you tell me how long this goes on?  How it works?  After we terminate, aren’t I entitled to receive my royalties directly from the licensees and account to her?   Trudy

All Licensing Agents will include a “Continuation Fees” provision in their Agreement with you as the Licensor Illustrator.  The essence of this provision is to give the agent the right to receive their commission on your royalties -- for as long as you receive such royalties -- on a license they placed and/or negotiated on your behalf.  The Term of the Agency Agreement may expire (if it is not renewed), but the agent expects to “continue” to share in the benefits of her services for as long as you do.  Hence the name “Continuation Fees provision.”

The provision typically appears in association with the termination provision, but not always.  It reads something like this:

“It is further agreed, regardless of termination and/or cause, Agent will continue to receive its full 50% share of all Gross Revenue associated with all License Agreements procured by Agent during the Term (and any renewals, extensions and/or modifications thereof).”

I have left in the highlighted, “and/or cause” part of this provision, because this is the kind of term that might be slipped into the otherwise expected provision.  You might miss it if you were not aware of the implication.  What the “and/or cause” means is that even if the Agency Agreement were to be terminated for breach on the part of the agent, like non-payment of royalties due their illustrator client, they would be able to rely on the contract to continue to collect commissions on agreements they made for you!   I say, “No way!”  Commission continuation right should depend on the full, good faith performance on the part of the Agent.  If they screw up and breach their Agreement, all their commission interests should be put at risk.  

In an analogous situation, the California Labor Commission takes the position that if someone is operating as a musician Booking Agent without a license from the Commission, the musicians they represent can make a claim that all commissions earned be surrendered to them.  This includes both past and future “Continuation Fees” that Booking Agents as well include in their Agency Agreements.  Why should illustrators be treated any differently.”  While literary and illustration agents are not licensed, their clients should not have lesser rights than musicians.

As for the issue of continued accounting rights, as long as the Agreement has not been breached, and the Licensor Illustrator had all agency rights revert, it is reasonably expected that post-term, the agent will continue to collect royalties due under the licenses they negotiated.  They will continue to take their commission due, and then account to their former client on the balance due for as long as the underlying Licensing Agreement continues.  Some of the more comprehensive Agent Agreements expressly include this expectation:

“Upon expiration or termination of this Agreement, Agent shall continue to collect payments under any and all License Agreements negotiated during the Term (and any renewals, extensions and/or modifications of the same) unless otherwise agreed by the parties.” 

And, just in case there is any question of whether the Illustrator should contact the Licensee and request direct payment since they are no longer represented by the Agent, some Agreements also make clear they cannot as follows:

“Artist further agrees that Artist, after expiration or termination of this Agreement, may not make any changes in the payment instructions contained in any License Agreement or other arrangement covered by this Agreement to direct any licensees to make payments directly to Artist.”

I would like to offer one alternative to the standard agent Continuation Fees provision.  It is commonly called a “Step-down rate.”  In short, if the commission due is 50% when the Agreement is entered into, two years after termination it might step-down to 25%; two years later, 15%, two years later, it might thereafter remain at 5% or expire altogether.

This compromise term is especially appropriate in those instances when an agent may be taking on an illustrator who already has a significant body of business, but the pre-existing licenses are not necessarily excluded from the Agency Agreement.  Perhaps the illustrator is looking to have the agent review license terms when they come up for renewal and/or renegotiate them when possible.  I have also negotiated inclusion of a step-down rate where the illustrator’s reputation is already ‘made’ as it were, and prospective licensees are calling her for rights.  The agent need not shop her works so much as make the best deals possible.  Then again, you might ask for it with any prospective agent.  If they want to represent you badly enough in the short term, you might save yourself some significant commission fees over time by insisting on a Step-down commission rate post–term!

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

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.

 

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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 décor, 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, August 26, 2016

Agent Spotlight - Laurie High - Creative Connection, Inc.


How long have you been in business and how did you come to be an agent?
Parker Fulton, an artist herself, started this business with two others in 1991.  After they secured 50 artists to represent very quickly, one of the partners dropped out almost immediately leaving a large work load for 2 people.  They asked me to join, and that began my journey into this business.  Not long after, the other partner dropped as well.  Parker (who is also my mother) and I have been running Creative Connection, Inc. ever since. So, I kind of fell into this, but quickly learned the ins and outs of the business including marketing, bookkeeping, contracts etc.  My college education and jobs prior to Creative Connection, Inc. did help prepare me for my roles in this business, however.
  
Who are the manufacturers you work with - how did you establish those relationships?  
Almost every year including 1991, Creative Connection, Inc. has had a booth at Surtex.   In the beginning, for several years, we also had a booth at The Licensing Show.  We secured many of our clients through those two shows.  We've walked shows and exhibited elsewhere, but Surtex has always benefited us the most, until recently.  We stopped showing at Surtex a couple of years ago and changed our tactics, due to the lessoned show traffic.  We signed up for ArtLicensingShow.com in the beta stage, and we now focus most of our attention on face-to-face meetings where our clients are located or at our office.  This seems to be working, but we won't rule out Surtex in the future.  I also spend time surfing the Internet to find clients, reading blogs, watching videos and reading newsletters, etc.  The clients who license from us the most include puzzle, needlepoint, fabric, greeting card, stained glass, and garden flag manufacturers, however there are so many other products that our designs are licensed for throughout any given year.

Do you have employees/help?
 
No, we don't have any employees currently and haven't since the Internet took off so dramatically making our marketing efforts easier and faster.  I occasionally hire a graphic designer to manipulate artwork or help me create marketing materials. Some of our artists provide their art, ready to market, on promo sheets like Jessica Sporn has done with her Wildflower Collection below.  If you scroll further, you will see another promo sheet that Karen Rossi has created - Winter in the Mountains. 


How do you market artists? 
Email is the main way that we market our artists.  If appropriate for the client and seasonal needs etc., artwork is sent to clients almost immediately upon receipt. I create promo sheets on a regular basis to email or post on our web site.  Some of our artists provide their artwork, ready to show, on promo sheets which aids in getting art before the clients quickly.  In addition, I regularly update our website, send out a monthly newsletter, advertise in at least one printed publication per year and utilize Social Media.  As stated above, we have taken a two-year break from Surtex and have been meeting with clients either where they are located or on Gibson Island where we are located.  This is working for now, but it is important to remain open to trying new things, and we are.

What do you look for in an Artist? 
 
First and foremost, really great art, so if an artist is sending through something that is not their best, then I'm likely to say no before delving any further.  Something different is important, because I am not doing my artists any favors if I bring on someone doing the same thing.  Available artwork is important also because most clients are in such a hurry that they cannot wait to commission a design.  And, finally something that compliments what we do have because this is the kind of art our clients seek from us. We are always willing to review an artist's portfolio according to the guidelines on our website, however, we are full and have been for most of the 25 years we've been in business.


How much work do you expect an artist to create? 
This depends on the artist and the style and what's currently happening in their lives.  Ideally, I'd like to see new artwork every week, but that is not always possible, especially with the highly detailed designs.  I do send periodic requests to our artists of needed designs and trends so that they always have something to work on or towards.

How has the Art Licensing business changed over the years?
Marketing has completely changed and really is much easier now for several reasons - very few color copies or mailings are needed now, high res files can be instantly sent to the clients instead of original artwork for scanning, Photoshop allows for quick manipulation of images to suit various products, and the Ipad allows for complete portfolios of our 20 artists to be carried in a brief case or shoulder bag.

Any advice or information you would like to share?
Always show your best.  Always paint what you love to paint.  Be yourself, but also grow yourself.  Read "Big Magic" by Elizabeth Gilbert which is about utilizing your creative energy to the max! 


You can find Creative Connection, Inc:
View our portfolios: www.cciart.com
Connect with us on FB: www.fb.com/creative.connection.inc
Connect with us on Instagram: artful_inspiration

 

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Thursday, March 31, 2016

The Buffalo Works and Suzanne Cruise Creative Services join to become one agency

 

Did you hear the BIG NEWS! I wanted to share this press release I received with all of you. ~Annie

FOR IMMEDIATE RELEASE:

Joanne Olds, President, The Buffalo Works
jolds@thebuffaloworks.com
www.thebuffaloworks.com
952.475.3013

Suzanne Cruise, President, SCCS Inc.
artagent@cruisecreative.com
www.cruisecreative.com
913.648.2190

The Buffalo Works and Suzanne Cruise Creative Services

join to become one agency

Minneapolis, MN and Kansas City, MO (March 23, 2016) – Joanne Olds of The Buffalo Works and
Suzanne Cruise of SCCS, Inc. announce the creation of a larger full service licensing agency. This
collaboration will benefit their collective base of licensed artists and strengthen the brands they represent.

Both Ms. Cruise and Ms. Olds are 25+ year veterans of the industry, and their respective licensing
agencies are focused primarily in the art-licensing segment. “We feel this union utilizes the breadth of
our combined experience to further benefit the clients we represent. The Buffalo Works will be able to focus more fully on the branding and product development while SCCS, Inc. will continue to focus on traditional art licensing opportunities. This will allow for even more licensing success for all of the
amazing clients we now collectively represent.”

Both companies will be located next to each other in June at the Licensing Expo in Las Vegas (booths
#E106-#E108), forming one larger booth to facilitate their new joint venture. Additionally, SCCS Inc.
will be exhibiting with all artists at the May Surtex Show in New York in booth #407.

You also might like this agent spotlight on Suzanne Cruise, Cruise Creative click here
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