Bo's bLAWg - Copyright and Title; Two Distinct Rights

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 sell my original paintings, but retain digital files for licensing use on merchandise.  Does the purchaser of my painting have any right to use the image? Thanks. Jerry

Thanks for your question, Jerry.  You have identified the basic distinction between “physical property” and “intellectual property” rights.  Real property and personal property are ‘physical things’ which can be owned, and transferred in commerce.  Real property, of course is a house and the land on which it is located.  Personal property, or “personalty,” includes paintings, prints, merchandise, CDs, DVDs and books.  Ownership to both real and personal property is indicated by the term “Title.”  Just as the purchase of your house by a third party is deemed to transfer your Title to it to the new owner, so too, does the purchaser of your painting take your Title as their own.

Intellectual property interests are more ephemeral.  They are also your “property,” but they pertain to the artistic works contained in personalty:  the imagery contained in the physical painting, prints or on merchandise via license; the underlying composition and recording of music contained in a CD; the movie contained in the DVD, and the story and characters contained in the book of fiction.  In non-fiction, the Author’s intellectual property interest is in her written text, apart from the facts contained in the text.  All of these intellectual property interests, and rights in derivative works that can be made out of them, are the essence of Copyright.

You will recall that I previously provided the list of the Copyright holder’s Exclusive Interests:
http://annietroe.blogspot.com/2016/07/bos-blawg-copyright-and-derivative-use.html
With respect to your painting, Jerry, these include the rights to:
1.  reproduce the work in copies;
2.  prepare derivative works based upon the work;
3.  distribute copies of the work to the public by sale or other transfer of ownership, or by rental, lease, or lending, and
5.  display the copyrighted work publicly.

The notion to keep in mind is that these rights all attach to your copyright (your intellectual property in the underlying imagery), but not to the painting (personalty).  The people who purchase your painting get none of you intellectual property rights unless you expressly provide such rights to them.  An example of that, would be offering the purchaser the right to use the image in a family Holiday Card – presumably on the condition that your copyright notice is affixed!  You may also want to pre-approve the quality of the reproduction being made.  Clients of mine have provisions allowing for these additional rights and other conditions that they insert into their Art Sale template. 

I am reminded that one other provision I recommend be considered to include in the Sale Agreement is the right to borrow back the sold painting for a Museum or other show featuring the best of your artworks.  Most purchasers are so pleased with the notion that the artwork they are purchasing is one of your own favorites, they do not object to signing an agreement that allows you the right to borrow it back with reasonable notice, and on the further condition that the artwork is fully insured when out of their possession.  If you do not include such a right in your sale agreement, you would not be able to make the purchaser loan possession back to you.  The exclusive right of possession is the essence of Title to personality, just as Copyright is your exclusive right to the image in the painting.  Make sense? 

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

Artist Spotlight - Mary Tanana

Tell us a bit about yourself: Did you go to school for art? Are you self taught?  
I went to Syracuse University and majored in Fashion Illustration. After college, I ended up getting a job at a jewelry manufacturer. They trained me on the job to design jewelry, and that’s what I’ve been doing up until 5 years ago. I decided to completely switch careers and become an illustrator and surface designer.  I took a few classes online and at The Rhode Island School of Design so I could learn more about creating digital art. It’s been a tedious journey, but I’m loving every minute of it!

Do you work in just one medium? Several?
I usually work digitally, either in Photoshop or Illustrator to finalize my designs, but I always start out simply drawing with pencil and paper. I am starting to experiment a bit more with watercolor and gouache. I love doing very complicated designs loaded with detail. The more intricate the design, the more it makes my brain happy. Every element or motif that I use is initially hand drawn. I absolutely love to draw, pencil on paper. It’s an essential part of my process.

What inspires you / where do you get inspiration from?
I have always been an avid gardener. I love looking at nature and the outdoors for inspiration. I love to photograph my flowers and get lost in sketching them for hours. I also love folk art from all around the world, especially from Eastern Europe and Russia. Lately I’ve been collecting antique embroidery books from Europe for inspiration.

How did you start licensing your art?
My first few experiences licensing my art were epic failures! I quickly figured out what types of companies to avoid and which to pursue. I now have an agent, Jan Draheim from Painted Planet Licensing Group, and I’m starting to see some of my artwork come to life in a number of different product categories. So exciting!

What are you working on now?
I’m just finishing up a few coloring calendars. Then I’ve been asked to create some ceramic collections, which is something really new and challenging for me. I’m really excited to work on some fabric collections in the near future. I love creating patterns. And I love seeing what people sew with my fabric designs.

Any great advice for our readers?
Try to not compare your work or achievements to other artist’s accomplishments. This is one of the hardest lessons that I’ve learned. We are all on different paths, are at different levels, and have unique styles. Comparing your work to others makes the journey even harder. Also, try to find your “art tribe”. Find a group of artists that are like-minded, and that you can trust to give you advice. I found a fantastic group of women through an online course that I took a few years ago. We have a Facebook group, where we regularly talk about our work, post photos, and bounce ideas off of each other. We also have Skype calls every now and then. This has been an immense help, considering most artists work alone from home.

Anything else you would like to share with us?
A lot of the work that I’ve done in the past year has been for the coloring book industry. Last year my coloring book, Christmas to Color, was published by Harper Collins and was a big success. This year they’ve put together a set of coloring holiday post cards, due to be released this Fall. I’ve also licensed more holiday coloring ornaments and art with Primitives by Kathy.

Are you an early riser? or night owl?
I always have been a night owl. I think I started this habit in college, I loved to work at night because it was so quiet. Still do!

What is your favorite food?
I have way too many favorite foods! I think I’ll answer with my favorite cuisines: Mexican and Thai.

Quirky information about me
I have my childhood stuffed animals in nooks around my office as good luck charms.

See more of Mary's work on Painted Planet Licensing Groups site here.

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Behind the Scenes of Shake a Tail Feather Collection - answering a few art licensing questions

Click images to view larger

Answering a few of your questions

 

Happy Friday Creative Souls!

One of the most popular emails I get from all of you is how do you create art for licensing. I have done a couple of posts so you can get a peek behind the scenes of how I do it. (links at the end of this post). Here we are taking a peek behind the scenes of my "Shake a Tail Feather" collection. Please realize, there is no one way to do this! There are as many ways as their are artists. I know artist who paint complete paintings and do not set up mock ups or patterns. They may pull icons out of the finished painting.  I personally like having a lot of icons (a single rooster is an 'icon') to create different image combinations with. So I will paint in steps, then scan in the art after each step. Example: Paint the rooster first, scan in the computer, paint the background, scan in the finished painting. Sometimes I just paint a background to use.

Another question is how much work do I need to have before I get into licensing?
Gosh, there isn't a magic number. You could be a stunning floral painter and only need just a couple of paintings that catches a manufacturer's eye. I lean towards having several images and/or collections. That to me says you are serious, have more than one image to sell/make money on. Everyone including you wants to make money from your art. I think I had around 12 art collections before I started approaching agents. I also set up an art licensing website. It was my personal comfort level.

Finishing touches in Photoshop

Do I worry about not having just one style?

No :-) I primarily work in watercolor and acrylic. They dry fast! Some say I have a couple of styles. Some say that they can tell that all of it is my work. I like the idea of being able to offer a manufacturer a wider variety of art for their products. 

Watercolor sample image

What programs do you use?

I am a Photoshop girl!, since I create my art by hand (not on the computer). I scan it in to the computer at high resolution, so that the image can be around 36 or more inches at 300 dpi. I may work in Illustrator down the road, right now I use Illustrator for logo design, some t-shirt design etc. depending on what my client needs. I use InDesign for magazine layout, newsletters and it works great for billboards etc.

Sprinkled through this post I am showing you some in progress photos of how I paint the "icons" first. Above, I lightened the dark brown background to get a different feel/color to the painting.
• Find more painting steps in this post here
• Find out about building a portfolio and what a collections means to me here
• More behind the scenes photos, Patriotic collection here

One of the Shake a Tail Feather portfolio pages.

Thank you all for your social media shares and emails. The art licensing community is fabulous! Looking forward to hearing your comments about how you create art and licensing experiences.

Creative process - think small? - What is yours!

Happy Friday Everyone!

I was asked recently what my creative process is and I drew a big fat blank! I had never thought about it.  - please share your tips/process in the comment section below :-)

In a nutshell I think small - I know right?! We are suppose to think big! - I dream big, but as my Dad so wisely told me when I was WAY ahead of myself over a decade ago, is to take one step at a time. I/you can be so much more effective breaking things down into small manageable steps - Thanks so much Dad. I remind myself of this a lot :-)

I like it best when I wiggle into the creative side of work. (Really, I think it all has creative aspects :-) below are a few of the steps I take each day.

Exercise

I am not sure some of you would consider this part of a creative process, but for me, I need it.
I exercise pretty much every week day. If first thing in the morning, it wakes me up! OR, sometimes I will work out around the lunch hour to get me off the computer and out of my office. For me it clears out the cob webs. I will check emails on my phone while at the gym and trash a bunch that do not need my attention.

To do list

I keep a calendar of meetings, deadlines etc. and have a running to do list. Some think this isn't creative, but it saves me. I like to knock off my top 3 or so 'must do first' items each day (usually for graphic design clients) plus work on the social media for the day. Social media ranges from just an image post to the sites I am on, to writing/setting up blog posts. If time allows, I do pop in and comment/respond to people on social media through out the day.

Plate is clear

For some reason I have to clear off stuff before I can settle in and work on my current art collection. I prefer it to be quite - no people coming in my office. But I do listen to all kinds of talk radio & music. The music choices really vary: Fleetwood Mac 60's - 70's, Adel, and Baroque Classical music to name a few. Typically I am painting, setting up mocks, designing patterns and that kind of stuff in the afternoon, Break for dinner, and then usually back to it until about 10:00 pm. -- do it again tomorrow :-)

A Few Last Thoughts

Not every day is the same - but this is the schedule for most days of the month. I do have a standing date each week to have lunch with favorite son of mine and dinner with favorite daughter :-) We do family dinner night every Friday.

Don't feel you should be this scheduled. I personally like it and don't need to wait until "inspiration" hits me to paint etc. I schedule it and show up to do it. As ideas pop into my head through out the day, I jot them down in a notebook.

My office studio is typically cluttered. I used to fight it and pick up more often until I realized I am very visual. Out of site is literally out of mind! - These photos are from 2013 when I did a blog post on my studio/office - not much has changed other than some equipment updates - and the Christmas tree has been put away. Most of the art on the walls my adult kids did when they were in school.

 

 

Do we have similar approaches? Completely different? Can't wait to hear about you :-D

Behind the Scenes of Waterways Art Collection - Muted Colors

Happy Friday Creative Souls!

I have done a few post where I let you in behind the scenes :-) For this post, I am focusing on muting the images in Photoshop for a yummy twist! There is a link under the second photo to a similar post, so you can see how I paint a bit backwards in order to get a lot of icons to play with in an art collection. (click images to view larger).

I always start with sketches, some I color a bit with color pencil. In the end, I have 21 icons and 8 paintings. For example, the lighthouse above is a painting, the anchor is an icon. I also painted 2 backgrounds: An ocean/sky background and a background of circles.

Here are some progress photos of one of the paintings. Most of the time I paint the 'icon' first (in this case the sailboat) and scan it in, then finish the painting and scan the finished piece. If you want to see more of this process check out this post: Behind the Scenes: Building a Painting in a Collection.

I didn't like the large cloud! :-)

SO, to add a twist I soften the colors in Photoshop. I chose a simple way to do this. In Photoshop, open up the original painting scan. In the file menu, click on 'image', scroll down to 'hue/saturation'. Turn down the saturation to mute the colors.

Now I need to set up some repeat patterns and product mocks for this collection!

How many paintings do you paint in a collection (or central images :-) ? More? Less?
Thank you for visiting, commenting sharing on social media - this is a fantastic community of artists we are apart of!

Agent Spotlight - Jan Draheim, Painted Planet Licensing Group

I got to know Jan and a couple of her team members at Surtex last spring - What a treat! - NOTE, click images to view larger.

 

 

How long have you been in business and how did you come to be an agent?
My family founded an arts and craft supply distribution company, Viking Woodcrafts, Inc., 35 years ago. The timing was perfect, as my husband and I had recently moved back to Minnesota from Illinois so I became the first employee. Eight years later Viking Folk Art Publications was formed, a new division focusing on publishing decorative painting books. My husband and I purchased the publishing division in 1996.

Our company published books for artists from all over the world –from Canada and the UK to Australia, Argentina and Japan. Our knowledge and understanding of color and the process of reproduction led us to the exciting world of art licensing, giving us another service to offer our artists. Painted Planet Licensing Group was formed in March of 2004, and today we represent 21 talented artists from around the world. I thoroughly enjoy being surrounded by such beautiful artwork on a daily basis and watching our business grow and evolve.

Do you have help/employees?
We are fortunate to have a great multi-tasking team to assist our artists and licensing partners. Leah Cochran is our Licensing Coordinator. She works hard at matching our extensive library of artwork with the right manufacturer, along with keeping our licensee and contact databases up-to-date. Alyssa Christian serves as both the Public Relations Coordinator and Account Manager, promoting and branding our company and artists via numerous outlets (check out her blog on our website!), while also handling record maintenance and royalty payments. My husband, Larry, is our part-time Accountant.

What do you look for in a manufacturer?
Currently we have strong, long-standing partnerships with manufacturers of various different products—from burton + Burton, who produce gifts for all occasions, to Leanin’ Tree, an industry leader in greeting cards, to tableware manufacturer Certified International and fabric forerunner Red Rooster. We’re always looking for new manufacturers to partner with. Our artists represent a wide variety of styles, allowing us to satisfy the needs of a diverse range of companies.

Quality of products, good communication and willingness to promote the artist’s name or brand are some of the key elements that we look for in a new manufacturer. Establishing a good working relationship is critical to everyone involved. There’s always a risk involved when signing a contract with a company we’ve never worked with before but we’ve found that some of our most profitable ventures and strongest partnerships have stemmed from taking that risk.

Do you prefer royalty deals? Flat fee?  
Typically we prefer royalty deals versus flat fee but there are times when a flat fee can be the right route to take. If the production run is small, sometimes the guaranteed flat fee is better. Also, there are some card companies, and companies that print for non-profit groups, that will only pay a flat fee. It’s important to weigh all factors of the specific situation when negotiating a fair payment. Whether signing a royalty or flat fee agreement, we advise our artists against selling their images outright in order to allow them the flexibility of licensing the same artwork again in the future for different products.

How do you market artists? Who pays for this? Anything different for new artists?
One of the most substantial ways we market our artists is by exhibiting at Surtex every year and occasionally at the Licensing Expo in Las Vegas. We also meet with art directors year round—at their offices, twice a year at the Atlanta Gift Mart, at the Houston Quilt Market and usually a specialty show such as the Chicago Housewares Show. We’re in constant communication with existing and potential clients, responding to hundreds of callouts a year and submitting artwork to companies for consideration on a weekly basis. We frequently send out mailings and e-mail newsletters to promote new artwork or a new artist.

We’ve recently revamped our website, making it easier for art directors to navigate portfolios and stay up-to-date with new artists, upcoming shows we’ll be at, etc. Our new blog, Painted Planet Perspective, features a monthly “Artist Spotlight” interview. We have an ever-growing social media presence, marketing our artists daily via Facebook, Twitter and Pinterest. We also encourage our artists to maintain their own personal websites, blogs and social media, which we link to from our website.

When we sign a new artist we assume all costs for exhibiting at shows, portfolios, advertising, etc. We recoup our costs by sharing any royalty revenue 50/50. Because of our initial investment, the decision to sign a new artist is very deliberate and well thought-out.

What do you look for in an artist?
When considering a new artist, we want to make sure that the artist is bringing something new to the Painted Planet family. We look for artwork that is fresh and on trend, and styles that complement yet don’t compete with what we currently have to offer. We also take into consideration our current licensees to determine whether the artist would be a good fit for them.

Equally as important when considering a new artist is their willingness to put in the necessary hard work and treat this as a job, not just a hobby. Licensing is a commitment, and an artist should be prepared to meet deadlines, be asked to make adjustments to their work to meet a client’s needs, and create new artwork on a regular basis. It’s also extremely helpful if an artist has certain software experience, such as Photoshop, InDesign or Illustrator, and has the capability of creating product mockups.

Any advice or other information you would like to share?
My best advice to any artist considering licensing is to take a shopping trip and look at how artwork is being used on products. Can you envision your artwork on similar products? We receive submissions from some artists who produce amazing fine art but the licensing possibilities are too limited. Don’t become discouraged if your first submissions to a licensing agency or manufacturer are rejected. If licensing is truly something you want to pursue, do the research, ask the questions, be flexible, and keep refining and working on your artwork.

I feel very fortunate to be able to sit in my office, look around, and see the fruit of all our years of hard work adorning the walls and shelves. I get just as excited opening a new box of samples now as I did opening the very first one over 10 years ago.



You can find Jan:
Website: www.paintedplanetlicensing.com

Email: jan@paintedplanetlicensing.com
Facebook: www.facebook.com/Painted-Planet-Licensing-Group
Phone:  (507) 835-8009

I REALLY appreciate all of you that help spread the word about my blog. Happy Holidays!

Do you want to be spotlighted? Send me an email: info@AnnGraphics.com

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Agent Spotlight - Carol White, Artworks! Licensing

I am friends with several of Artworks! Licensing artists and very much admire the talent this agency has. So, you can imagine how thrilled I am that Carol is sharing her perspective on art licensing. --Click images to view larger.

How long have you been in business and how did you come to be an agent?
I have been in the Art Directing/Art Licensing field for over 25 years. Initially I worked for a direct-mail greeting card company and expanded their stable of freelance artists so that resources of new art came from a variety of sources including art publishers and national greeting card companies. It was during this period of over ten years that I came across so many talented artists across the country, most of whom didn’t have a clue about marketing and promoting their art, that I decided to set off on my own and establish a licensing agency that would help new artists become established. The licensing industry was just taking off and more companies were becoming open to the idea of licensing art for their product lines. I consulted for a national art publisher for a few years, helping to build their licensing department and then eventually decided to give a 100% of my efforts to start Artworks! Licensing. 

Do you have help/employees?
Most of the relationships that are established with customers come through my connections in the industry.  One very important element in any successful business is the solid relationships that are formed with not only customers, but also artists. I have the pleasure of working with artists who are able to format their own designs avoiding the need for a staff designer.

Who are the manufacturers you work a lot with? 
Our customers consist of a wide variety of manufacturers in both the home décor and gift markets such as Carson, burton&BURTON, Creative Converting, The Manual Woodworkers & Weavers, Conimar Corporation, C.R. Gibson, E.K. Success, Ravensburger Puzzles, KayDee Designs, etc.

How do you market artists? Who pays for this? (Anything  different for new artists?)
We market artists through social media, websites, emailing, trade magazines, attending gift markets, and by exhibiting at licensing shows such as the New York SURTEX.  We take full responsibility of covering all costs for the advertising regardless of the medium.

What do you look for in an artist?
It’s important that artists have a sense of who they are as an “artist” or “designer” and create a portfolio consistent with collections in various themes.  We look for artists that have on-trend designs and who are familiar with some form of digital application such as Photoshop. In most licensing venues, manufacturers seek to license art that has been created in layered files so that the image can be applied to a variety of product types.  We are always open to looking at an artist’s portfolio; however, we make it a point not to have significant overlap in our artists portfolios.  It’s important that each artist feel they are unique, rather than competing, within the agency.

Do you feel an artist needs an online presence?
Yes, particularly now more than ever.  With access to the Internet and Social Media, it is important for an artist to have a strong presence online which could be a website, blog, Twitter, Facebook, etc. All of these mediums help support the promotional and advertising efforts that the agent provides for the artist.

How much art do you expect and artist to create in a year?
We select artists who have an existing group of images in their portfolio asking that the they continue to submit their new work as they complete it. Rather than expect an artist to create a certain number of designs in a year, we encourage the artists to add designs that may create a more well-rounded portfolio to appeal to more customers. For example, if an artist is very prolific but focuses more on Spring and Garden designs, we would suggest that they add Fall and Holiday designs to their portfolio. This creates a broader balance for customers because many times if a customer likes a particular artist’s style or that style sells well for them, they will want to consider a variety of seasonal designs for their product lines rather than limiting to one.

Any advice or other information you would like to share? 
One bit of advice I would give any artist attempting to get into the licensing industry, is “don’t be afraid to be you”. Researching the market for trends and styles is a great means of staying current; however, it’s important to stay true to your own unique style rather than try to emulate other artists.  Manufacturers look for art/artists that offer a fresh approach to a classic or ongoing themes.  Competition is tough in today’s licensing world.  More and more artists are entering the business, yet manufacturers are limiting the amount of licensing and outsourcing of art they acquire on a yearly basis. So, do your research, stay on trend, and look for agencies that may benefit from your unique style rather than agencies that already represent several artists like you.

You can find Carol:
Website: www.artworkslicensing.com
Email: carol@artworkslicensing.com
Phone:  (561) 253-8100

THANK YOU for stopping by my blog and all the social media shares and support! I look forwards to your comments.

Do you want to be spotlighted? Send me an email: info@AnnGraphics.com

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Behind the Scenes: Building a Painting in a Collection

Happy Friday Everyone!

This is a follow up post to "How I am Building an Art Licensing Portfolio". In that post I talked about painting a lot of icons. This photo post will give you a better idea of how I do it. No worries if you pull icons out of your finished paintings. I am sure there are as many ways of doing this as there are artists :-)

This collection is acrylic paint on canvas panel.  Click images to view larger.

Above are a few of the icons in my "Pumpkin Snow" collection. I scan in the finished icons so I can easily use them in a variety of situations for art on products.

I have scanned in the barrel. I chose the highest dpi that the scanner will allow me to choose. For this image that was 1,800 dpi. That means this barrel can be almost 3 feet in size at 300 dpi.  Now it is time to turn it into a painting :-)

I like to leave some space in the painting so I can add other elements in Photoshop for variety.

Love how the blue makes this pop!

Notice the barrel on the flag - fun to change it up!

How do you create art for licensing?

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Artist Spotlight - Lisa Conlin

Thanks, Annie, for spotlighting me today, it’s an honor. (Welcome Lisa! :-D

Tell us a bit about yourself: Did you go to school for art? Are you self taught?
Like most artists, as a child I was happiest with pencils and paint brush in hand. There was really never a doubt that the art world was where I needed to be. I attended the University of Hartford Art School where I earned a BFA in Illustration with a heavy emphasis on painting, photography, and art history.

Out of school, I became an illustrator and animator for a children’s educational software company. Animation was not something that I had any sort of training in so it was definitely a self taught kind of thing.  Over time the software company grew and became a part of Vivendi Universal Games. I grew with them into a software designer, art director and executive producer.

After the birth of my first daughter I decided home is where I needed to be and I have been freelancing ever since.

Nowadays you can find me creating home decor collections for use in art licensing, freelancing in illustration and graphic design, and teaching my own after school art program called Art Explorers. I guess you can say I wear a few artistic hats.

Do you work in just one medium? Several?
My mediums of choice are watercolors, gouache, acrylics, colored pencil and even a mix of marker from time to time.

What inspires you / where do you get inspiration from?
I get my inspiration from so many things: nature, books, music, my family, and friends. It’s really everywhere and in everything. Oh, and a trip to the Met is always, always inspirational for me. I could hang in the Impressionists wing for days and not get bored.

What are you working on now?
This month I have a Christmas collection on the drawing board and a coastal collection being assembled on the computer.

I work as the primary freelance artist for TSC Giftables, for whom I’ve just finished creating packaging for their new soap line. I’ve created several collections for them and the matching soaps hit the shelves next month, which is very exciting!

This month my Art Explorers program will be expanding into a new space and classes will be starting soon. I’m always excited for a new session of students - we always have such a good time.

Anything else you would like to share with us?
I’m thankful that I am in the business of creating pretty things, and for my art licensing agent, Carol White from Artworks! Licensing, who helps me share those pretty things with the world.

I’m also grateful for the opportunities I have had freelancing. I’ve worked with some really great clients over the years. I’ve always found working with and creating exactly what a client is looking for very satisfying.

I’ve been lucky and blessed to be surrounded by family and friends in my life who are such great cheerleaders, especially fellow licensing artist Jackie Decker. We have been best friends since college and have been boosting each others artistic souls to shine bright ever since.

Are you an early riser? or night owl?
I am a die hard night owl. For what ever reason I feel like my creative mojo flows the best then.

What is your favorite food?
I love Italian food. Don’t let my last name fool you, my Italian heritage runs deep.

Thanks again for spotlighting me Annie!

You can find Lisa:
www.lisaconlindesigns.com
lisa@lisaconlindesigns.com
Like me on Facebook: Lisa Conlin Designs
www.artworkslicensing.com
carol@artworkslicensing.com

THANK YOU for stopping by my blog!

Do you want to be spotlighted? Send me an email: info@AnnGraphics.com

Make my day and follow this blog :-D Don't want to miss the good stuff? Sign up for my newsletter ;-)