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

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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!

You can find Brenda Manley Designs:

website: brendamanleydesigns.com
instagram: https://www.instagram.com/brenda_manley_designs/
facebook: https://www.facebook.com/brenda.manley.102/

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Artist Spotlight - Randi Zafman

 

Annie, thank you so much for inviting me to be part of your Artist Spotlight. I am honored to be included among so many talented creatives.

Tell us a bit about yourself: Did you go to school for art? Are you self taught? 
I have been drawing my whole life. One of my earliest, art making memories was when I was about four years old. I remember hiding my crayons and markers in my bed, under the covers. Once my parents tucked me in and left my room, I stood on my bed and colored on the wall. The next morning, my parents came in and saw my artwork and although they were very pleased with what I created, they just wished it wasn’t on the wall. That very day, they repainted, bought a huge roll of white butcher paper, and created a place for my daily murals. I was lucky to always have a lot of support from my family in my art endeavors. I was the kid that used to take the jar of peanut butter and the cereal box, and draw it. This was my first, early interest in package design. I have been obsessed with the anatomy and structure of letterforms ever since. While still in high school, I started taking college-level art classes in design, typography, and watercolor. Armed with a professional set of Winsor & Newton watercolors, sable brushes and an Arches block, I began my life-long, love affair with watercolor. I then studied drawing and painting, graphic design and illustration, and received a BA in Fine Arts.

Do you work in just one medium? Several?
I was trained in many artistic disciplines, but watercolor is, and always will be, my favorite. My watercolor illustrations and lettering are created traditionally, by hand. I crave that tactile sensation of brush, paint and paper. I draw and paint everything in watercolor, gouache, and ink. I then scan my artwork into Photoshop and edit with the Apple pencil on my iPad Pro.

What inspires you / where do you get inspiration from?
I was born and raised in Los Angeles, where I still live today. I love to start my day with a long walk. Inspiration is everywhere, from the mid century, art deco and Spanish architecture, to the wonderful shops that are all around me. By the time I get back home, I can’t wait to get working in my studio.

How did you start licensing your art?
I started working as a graphic designer and art director back in the days before computers. I freelanced and worked in-house, and did everything from traditional graphics to illustration for giftware and stationery companies. It was so amazing to see my work in stores and on products. I’ve done artwork for unusual things things like boxer shorts and credit cards to more typical products like packaging and greeting cards.

What are you working on now?
I have this huge list of ideas and things I want to create. I have the problem of too many ideas and never enough hours in the day. I make sketches and color studies, so that they can one day become finished pieces. Every day feels like an exciting, new opportunity.

Any great advice for our readers?
Life is short, do what you love and follow your artistic dreams. Stay true to your style, but be open to letting it evolve. Enjoy the creative process, be present, and see where it takes you. You never know what you may discover about your art and yourself.

Anything else you would like to share with us?
I am represented by Liz Sanders Agency. Having an agent has been a goal of mine and Liz is wonderful to work with. I am so looking forward to all we can do together.

Are you an early riser? or night owl?
I am definitely an early bird and always have been. I have the most energy in the morning. Some of my best design solutions have come to me in my dreams, so I like to work when the ideas are fresh.

What is your favorite food?
Sushi for sure. The first time I tried it I was at a sweet sixteen in Little Tokyo and it has become my all time favorite food.

You can find Randi
INSTAGRAM: instagram.com/randizafman
WEBSITE: randizafman.com


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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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Agent Spotlight - Jewel Branding & Licensing

 

Julie Newman, founder and president of Jewel Brand Licensing takes some time to talk with all of us:

How long have you been in business and how did you come to be an agent? 
We are officially 8 years old on September 17th!  It doesn’t seem that long as it has been so much fun!  I became an agent through a contact I made at AT&T when I worked for them in Florida.  He was the licensing agent for Thomas Kinkade.  He asked me to come work for him and I started my licensing career in 2003.

Who are the manufacturers you work with - how did you establish those relationships?
We work with all kinds of manufactures in stationery, greeting cards, textiles, wall art, apparel, and also many worldwide agents.  I established those relationships at shows, through networking events, cold-calling, and referrals.

Do you have employees/help?
Yes, there are 9 of us!  It’s still hard to believe there is that many but we all work together and divide up the artists and brands so we can provide a high level of service to our licensees and to our artists.

How do you market artists?
We market artists at Licensing Show and Surtex and also to people we meet at various trade shows around the country.  We also have a website that we launched in 2012 that gives each artist their own page as well as an artists information sheet.  We also market in emails to our licensees on a regular basis.  We try to keep our designers top of mind as much as possible with our manufacturers.

What do you look for in an Artist?
I look for a unique style and design.  Something that stands out from our other artists as well as something that I know our licensees are looking for.  We also like a strong social media presence, a good size portfolio that contains a range of artwork and mock ups in categories for home décor, textiles, stationery, etc.  We also encourage our artists to promote themselves as much as possible through their website, Instagram, etc. 

How much work do you expect an artists to create?
I prefer quality over quantity every day!  I also feel that when an artist is inspired by something, I love exploring that with them to make it licensable. 

Any great news you would like to share?
Yes, we have an IPad app, where licensees can login and search all of our artists designs!  We were the first agents to offer this type of technology and we have gotten a great response.  You can find it here.

How has the Art Licensing business changed over the years?
It seems that competition is tougher than ever and licensees have so many places to find designers from Instagram to Etsy, etc.  We have to really work hard at picking out the best of the best and then make it easy to work with us and the artist.

Any advice or information you would like to share?
Just that licensing is an amazing entrepreneurial business segment that we are all in and I get inspired everyday by creativity and people willing to take the risk and spend the time and money to build a licensing program.  It truly is the American dream and I love being part of it. 

You can find Jewel Branding & Licensing:
www.Jewelbranding.com
Facebook - @JewelBranding
Instagram - @JewelBranding
Twitter - @JewelBranding

 

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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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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

See us on artlicensingshow.com: https://artlicensingshow.com/members/creativeconnection/profile/

 

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Artist Spotlight - Barbara O'Brien

 

 

Tell us a bit about yourself: Did you go to school for art? Are you self taught?  
I guess I would say that I am self taught but that is really a misnomer as I have been blessed with wonderful mentors who taught me how to use my camera and other kind folks, like my agent, Joanne Olds of the Buffalo Works and her in house designer, Nicole Fadden, who took a chance on me and have guided me in turning my photos into art to make them more  appealing to manufactures.   I used to do watercolor, sketches and pastels but took 20+ years off to raise a family of four sons and a daughter while running an animal actors agency. I did not start shooting until around 2008 when my advertising clients took a big hit like everyone else and I needed to expand my income base. With the help of some excellent photographers  who were gracious enough to show me the ropes I was able to start shooting professionally right off the bat. I still work with ad agencies and editorial clients but am now focused on creating more imagery that I can turn into licensable art.
 
Do you work in just one medium? Several? 
I principally work in digital photography. I like to use my own images to create my art as I never have to worry about copyright or attribution issues. I do license photographs but am now mostly working in digital art.

What inspires you / where do you get inspiration from?
As you can see from my work, I tend to be pretty animal focused. To be inspired I need to look no farther than out my window as I live on a small farm in rural Wisconsin and am surrounded by beauty everywhere.

How did you start licensing your art?
My oldest son was watching me edit a photo shoot of a really sweet puppy and he said “Why isn’t this on the cover of every fourth grade girl’s notebook?” That was a lightbulb moment for me. Yeah why isn’t it? Those pictures get there somehow and so began my journey learning about this world. I was also lucky enough to have a good friend who managed to get my work in front of an editor at Penguin Random House and am proud to say that my little photo book DOGFACE has done quite well.

What are you working on now?
I have created 10+ new collections in the past few months  ranging from farm animals to humorous themes and strive to create new art every week. I shoot almost continuously adding to my library of assets. For example, I shot a series of farmer’s markets last year to give me the vegetables images I needed to create my farm to table series.

Anything else you would like to share with us?
I am blessed to be working in the digital age, where photography and digital art is even possible. Thank goodness for all the kind people on YouTube and the like who take the time to create tutorials. I learn something new about pattern making and Photoshop everyday.
  
Any great advice for our readers? 
Create what you love. It’s true as a writer, a photographer, a composer, - for anyone in the arts. I am much happier shooting a field of lambs then I am shooting a pile of towels for advertising. Try to develop your own look. Nothing pleases me more than when someone recognizes my work before they see my name with it.

Are you an early riser? or night owl?
Both, ask my poor husband, I love to work and will work on projects for hours on end if I can. I still run my animals actor agency and my commercial photography business so creating art from my images is my happy place where I get to decide how things look and how they go together.

What is your favorite food?
I eat fresh pineapple almost every morning and I make the best triple chocolate, real Wisconsin butter, and eggs from my very own hens, brownies. Usually when a photographer tries to get a portfolio showing with a new client, they will send a photo of their work.  I send a photo of my brownies with the promise to bring them if they agree to meet with me. No one has turned me down yet.

 

You can find Barbara
612-812-8788
www.barbaraobriencreative.com
www.barbaraobrienphoto.com
barbara@barbaraobrienphoto.com
Represented by The Buffalo Works
DOGFACE BOOK

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Artist Spotlight - Nicole Tamarin

 

Tell us a bit about yourself: Did you go to school for art? Are you self taught? 
I didn't start taking art until I was a Junior in HS after my French teacher suggested not taking her class again (I was terrible at it, even after 5 years) and maybe try an art class instead!  I’m not sure why I had never thought to do this but art wasn’t really something I saw a possible career in so it seemed odd to spend time on it.  I’m kind of practical in that way but I was always drawing in a sketch book and doing projects at home so I thought it might be fun.  Who knew I’d be completely switching gears from that point on!  I remember a Senior at the time telling me that I HAD to go to Mass College of Art, and again, I’m not sure I had actually thought about going to school for art as a possibility but hearing it from someone else was a weird kind of permission I’m not sure I would have allowed myself on my own.  I did end up attending Mass Art, where  I was an Industrial Design major before switching to Illustration where I graduated with departmental honors. 

Do you work in just one medium? Several? 
As far as my traditionally painted work, it’s almost always watercolor and sometimes a little white gouache.  I know I don’t use it right but I have never liked the colors I mix  so I tend to just tint it with my watercolors.  For brands I like Winsor Newton but that might also be because I still am using my original set from college!  As I’ve gotten more into Licensing and have a need to get brighter, bolder color I started to mix a bit of Dr Martin’s in with my regular pallet for a bit of a color boost. For the digital side of what I do, all my paintings are brought into Photoshop.  I am no expert by any means but it is comical to me that it was only five years ago when all I’d use PS for was scanning and sizing for email.   

How did you start licensing your art?
In all honesty it took me forever to find my niche.  I found out about licensing after losing an illustration job due to the fact that I didn't want to sell my full rights.  Since I really only had freelanced here and there since college I wasn’t sure what was realistic in the "real world" as far as keeping your rights were concerned so I reached out to an artist who had done a previous product for the same company.  That artist happened to be Bee Sturgis and she encouraged me to look at the licensing industry thinking it was a good fit for my work.  She also directed me to Tara Reed’s site who at the time was doing "Ask" calls talking to different experts about the industry.  The very first one I listened to was about Surtex, which of course I had never heard of and as soon as I found out that it was in NYC I decided to walk that spring and exhibit the following year.  This is of course before I knew anything about licensing or had a portfolio to speak of but it was just one of those lightbulb moments. 

From that point on I  read every book and blog I could get my hands on, I was listening to webinars, teleseminars, and podcasts.  Everything from freelancing to marketing, from entrepreneurship to small business strategies and of course if someone was sharing about art licensing in any form I was open ears.  I taught myself to make patterns from a silly “how to make a polk a dot” tutorial and started entering all the weekly Spoonflower challenges to help me learn how to make patterns.  A few months went by and when May rolled around, as soon as I stepped on to the Surtex floor I knew it was where I wanted to be.  I am a total introvert but forced myself to introduce myself to as many artists as I could find that I followed online.  It was one of the best and most terrifying things to do but everyone was very encouraging.  I also made a point to tell everyone I spoke to that I’d be back the next year as an exhibitor. 

I had never shown my work to anyone in the industry before unrolling my banners the following Spring when I arrived for my first show (this is not something I’d suggest!) but it all turned out for the best.  I was able to see that my art was indeed a fit for several industries and it wasn’t just a hunch.  Best thing I ever did, both for my business as well as for myself.

What are you working on now?
Right now I’m working on new art for my card and gift line “Sienna’s Garden” for Pictura USA.  It’s a project close to my heart, not only because it is named after my daughter but also because it is the first project I’ve worked on that truly represents me as an artist.  The line just launched in March with 60 card designs and 9 gift collections but I’ve already completed 20 new card designs and am currently at the sketch stage for the next 20.  It’s been challenging to come up with that amount of art but I’ve been working with Pictura for the past 4 years and it’s been nice to have a company who is willing to stick with you.  In all honesty they don’t like everything I send but it only pushes me to dig a bit deeper and in the end they’re usually right! 
 
Anything else you would like to share with us?
I’m going through a HUGE transition in my business at the moment having just signed with an agent.  It’s honestly not something I had any plans of doing when I entered Art Licensing so I’m still in a bit in shock that it’s happening.  I do, however, think it’s important to know when you may not be the best person to wear all the hats.  I know this is going to be a scary transition since I’m a classic Virgo (aka total control freak) and  I’m really proud of what I have learned and achieved on my own but I’m also looking forward to working with people who I honestly do believe will do a better job helping me achieve my long-term goals.

Any great advice for our readers? 
Creating an income from Licensing can take some time so having other income sources is a must.  Some artists teach, have etsy shops, or regular freelance work which always amazes me but sometimes it might just be a non creative source of regular income that gets you through. 

Are you an early riser? or night owl?
Definitely a night owl!  If I didn't have to get my daughter up for school I'm sure I'd work into the wee hours and sleep in.  Maybe when she's older!

What is your favorite food?
I love Indian and Thai but my favorite is Mango Curry.  My college roommate is such a good sport and gets it with me every time I come to see her, she must be sick of me getting the same thing for the past 18 years but some things never change.

You can find Nicole:
www.NicoleTamarin.com
https://www.instagram.com/nicoletamarin/
https://www.facebook.com/Nicole-Tamarin-Illustration-and-Licensing-118589348198161/

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Artist Spotlight - Beth Grove

Tell us a bit about yourself: Did you go to school for art? Are you self taught?
I did go to art school, but I’d have to say my biggest teacher has been experience and PRACTICE - a lot of PRACTICE. I learned a lot about design from my first job doing page layout for a crop-dusting magazine. My second job using my skills as an artist was working in the art department of a greeting card company called Carol Wilson Fine Arts, Inc., where I put in a lot of hours painting watercolors. For the last four years I’ve been painting in my home studio, and licensing to home decor and gift markets.

Do you work in just one medium? Several?
I mostly work in watercolors, but to keep up with the constantly changing trends in licensing, I’ve started creating watercolors in a new style. My newest work is a loose watercolor over a pen and ink drawing, or sometimes watercolor over graphite.

What inspires you. Where do you get inspiration from?
I love to create Pinterest boards. They are the ultimate in what used to be called mood boards. For every new collection I create, I start a Pinterest board with a color story and style concept. I refer back to it throughout the project to make sure I keep on track with what the collection needs to look like.

How did you start licensing your art?
While I was working at the greeting card company, I felt I needed to look into how an artist might make a living if they didn’t have a full-time position within a company. As the job market was changing, I saw a trend of artist becoming self employed, finding contract work and doing freelance jobs. That’s when I discovered licensing. To be honest, I don’t remember exactly where I first learned about it, but I quickly got to work looking for an agent, and have been working with Wild Apple Graphics for the past four years.

What are you working on now?
SURTEX!! I’m trying to create as much art as possible to send to the show with my agent.

Anything else you would like to share with us?
I’m very excited about a new contract for my Lilac Dream Collection. It will be used to produce boxes, wine tubes, journals, diaries, sketchbooks, and photo albums. Here’s a picture of the journal. 

Any great advice for our readers?
It works well for manufacturers when the art is in layers so they can move things around, and build the art in different formats to fit all types of products. I scan my watercolors as separate pieces and work in Photoshop to complete the art.

Are you an early riser? or night owl?
Early riser. I’m a lot sharper in the morning, and it’s a quiet time of day when I can get a lot of work done without interruptions.

You can find Beth:
Facebook Page: https://www.facebook.com/ArtistBethGrove/?ref=aymt_homepage_panel
Agent’s Website: www.wildapple.com
My Website: http://bethgrove.com
Email: bgrovework@aol.com
Pinterest: https://www.pinterest.com/colorcollector/

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

Make my day! and Buy me a cup of coffee (PayPal Link in right side bar, you don't need a PayPal acct.), follow this blog, and/or click an ad (you don't need to buy ;-)

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