Bo's bLAWg - The California Resale Royalty Act

MJ Bogatin (“Bo”) of Bogatin, Corman & Gold, is an Arts and Entertainment Attorney in San Francisco.  He is also Co-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!

 

Since it is in the news and an issue dear to my heart, I wanted to comment this month on the U.S. Supreme Court’s decision this week to decline to hear the appeal of last year’s Ninth Circuit decision striking down part of the California Resale Royalty Act (RRA). (See CA Civil Code Section 986:  http://www.leginfo.ca.gov/cgi-bin/displaycode?section=civ&group=00001-01000&file=980-989 )

This unique California statute provides for artists to be paid a modest royalty (5%) on the re-sale of their artwork at an increased price over the re-seller’s purchase price. The statute was one of several that benefit artists that my organization, California Lawyers for the Arts (CLA), helped get passed in the late 1970’s.
   
California is unique in having passed this statute, although it is common in Europe. At its core, it is intended to compensate visual artists for the appreciation in value of their previously-sold works, which appreciation is the result of the artist’s wider acclaim, usually earned through hard work over the years. If the value of the artwork has not increased in value, no royalty is due; if it has, only 5% is to be paid over to the Artist by the Re-Seller. Until recently, the statute applied only on re-sales of fine art in California or by a California Seller.

The RRA came under legal attack in 2012 in response to a lawsuit filed against the major auction houses (Christie’s, Sotheby’s, and eBay) by Chuck Close, the Estates of Sam Francis and Robert Graham, other established artists based on the fact that they were not being paid their resale royalty on out-of-state sales of artworks owned by California Sellers. There was a concerted effort by the auction houses to have the RRA deemed unconstitutional as violating the Commerce Clause of the U.S. Constitution. This clause reserves to Congress the power to regulate interstate commerce. A Federal Judge agreed with the auction houses and an appeal was taken.

On appeal to the Ninth Circuit Court of Appeals, in a split ruling, it was decided on esoteric grounds that part of the RRA that applies to out-of-state sales violates ‘the negative grant of power to Congress under the Commerce Clause’ (The “Dormant Commerce Clause), to restrain the authority of individual states to impose regulation of commerce in other states. In short, even if one party is a Californian, imposing the royalty obligation on the auction house in a New York sale would violate the Dormant Commerce Clause. The ruling left intact the right of California to impose the resale royalty on California sales, but the damage was done. It was this Appeals Court ruling that the artists and CLA sought be reviewed by the US Supreme Court, that the Supremes declined to reconsider.

While disappointing, this is not the end of the matter. There have been attempt to pass a Federal Resale royalty Act that would apply to all the states and provide such royalties to all artists.  Although the statute has been proposed three times to Congress, it has yet to get a hearing. Perhaps with the publicity around this decision will cause artists to become more vocal about their right to such royalties. After all, if composers can continue to earn royalties on the public performance of their works, why shouldn’t visual artists?!?

Or, artists can do what I recommend: Put a resale royalty provision in your art sales contracts. It need not be limited to 5%, either! My sales contracts require re-sellers to pay 15% on the profit of their re-sale, and to pass on this obligation to the purchaser of the work of art so the same obligation applies on future re-sales. You want to see the provision?  I’d be glad to share it with you. Just let me know!

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

Artist Spotlight - Gail Green

(Click images to view larger.)

Tell us a bit about yourself: Did you go to school for art? Are you self taught?
I have been drawing my entire life, starting when I was old enough to hold a crayon. As a toddler, I was absorbed with color, especially combinations and patterns. Although my first unofficial wall mural was drawn on our freshly painted staircase wall before my 3rd birthday, my formal art training began at 10 years old when I was awarded a scholarship to the Junior School of the Art Institute of Chicago. I attended classes there for many years followed by University of Illinois (School of Fine & Applied Arts) and the Chicago Academy of Fine Arts.

My grandmother was also one of my "influencers" ...and a big part of my life. She was such a master with skilled pattern making, genius design and sewing skills, all the Chicagoland dressmakers  would come to her for advice and help. Her clientele included the wealthiest of patrons from the NorthShore.  My grandmother could look at a garment draped on a mannequin and with just a few notes and a primitive sketch, she'd create a pattern and improve the designs to come up with her own original creations and patterns. I absorbed a lot from her growing up but the rest of my creative skills as an artist and maker have been self taught.

Do you work in just one medium? Several?
I have always loved watercolor and ink and have paired medium and substrate in a unique combination to develop my signature look.  I began in publishing (my first and forever love) but later fell head-over-heels in love with stamping and the craft/hobby industry.  It is there that I landed and feel most at home. Although my original plan was to be a book illustrator, I wound up instead developing a passion for product illustration.

I begin my creative process using traditional methods but it is in Photoshop that I do my magic.  I think like an animator and a stamper, so I create all my art components in pieces and assemble them digitally.  Once I bring everything into the computer space, I can move elements around endlessly, create surface design patterns and multiple color ways at lightening speed and transform objects, such as turning flamingos into swans or leaves into abstract backgrounds. That is my "happy place" because digitally the possibilities are truly endless.

And...I can literally work on everything all at once in my starburst thinking working style. I usually work on multiple files ( and often multiple collections ) simultaneously. It's the only way I can manage all the ideas.

What inspires you / where do you get inspiration from?
LOL!  I recommend reading the article in Scientific American on "cognitive disinhibition" (click here). It explains how the advanced creative mind works and how it  absorbs what non-creatives refer to as "inspiration". Since I basically have no filters in what I take in visually, inspiration is literally everywhere. I can walk down a crowded Chicago street and see a color story in a building's patina or instantly envision an entire art collection by spotting children playing under an umbrella on a quiet suburban front yard. I'm always jotting ideas and observations down in my phone Notes app, although that is sometimes challenging with my two Border Collies on the other end of the leash!

I create art in a wide variety of themes and styles. This is partly due to client and product variances but also affected by many other influencers. For example, if I am working on a specific  crafting technique involving specific materials and a very appealing outcome, I may be inspired to bring those textures or color combinations into a new art collection based something I experienced on a walk the day before that was relevant to a specific theme or request. My thought process is like a salad bowl...lots of ingredient combinations being tossed around at all times!

I am mostly known and recognized, however, for my animal art and my signature brand Sweet PETatoes. I've always loved animals and have been drawing and painting them my entire life. Birds and dogs have especially been a huge part of my life and I currently live with 3 border collies, a cockatiel and an Eclectus parrot. You can even follow their adventures in one of my blogs, listed below.

What are you working on now? 
I have been prepping for weeks for both the Atlanta Gift Show AND for the annual Craft & Hobby Trade Show (CHA Show). In fact, depending on when people read this, I may actually be at CHA, being videoed, presenting new inky techniques and art collections and, of course, soaking in ALL the creative energy with my industry peeps! I'll also be previewing the new additions to my rubber stamp line with Impression Obsession (http://iostamps.com ) and setting up my awesome project in the industry Trends display case.

Any great advice for our readers? 
The one piece of advice I'd like to share is about purpose. When we create fine art to satisfy our inner creative spirit and express our soul, no one can say what we create is right or wrong or need changes It is purely our artistic expression. The main focus is satisfying our own need to create. Art licensing, however, is a business and the art we create for art licensing needs to be created with that in mind. Of course, create your art to the best of your ability but...do not get too emotionally connected to it.

Creating art collections for licensing is a actually a collaboration. It's purpose is to make money and enhance product.  As artists we need to work within the needs of that purpose. If a potential client requests changes, it isn't a negative commentary on your work or your ability.  It's business.  Our art sells a product.  It has to be spot on for the specific market and consumer. Be cognizant of product formats, production needs and specs as well as focusing on current trends and color palettes. For example, I LOVE the color green and will use it instinctively, but just because I love green doesn't mean it is always appropriate. It is all about business and, as such, art for licensing should be created with an end use in mind. Conversely, stay true to your style or unique way of expression. Just remember to temper that vision by listening to what clients and potential vendors request.

Although it seems like a lot of extra work, I encourage taking the time to place art in progress into product templates or shapes.  This exercise not only gives the the potential client a clear vision of how your art will enhance their product line, but will also help you develop your collections so proportions, color palettes and various elements work on a variety of products.
And don't take rejection personally. These are business decisions being made by business people. It isn't commentary on your artistic soul.

Any other special interests or skills?
I am also a skilled writer with 5 published books and hundreds of magazine articles. Writing comes very naturally to me…especially for information articles or step-by-step instructions. Little know fact about me: I spoke in complete sentences before I was a year old. This unusual ability was further reinforced by conversing daily with another child the same age who was also gifted with early speech.

Anything else you would like to share with us?
Working as a solo creative can be very isolating and at times, overwhelming. I'm very grateful to be part of a creative community. Between the craft/hobby industry and the art licensing communities, I never feel alone. There is always some one to answer a question, bounce ideas off of, etc. There is always someone who understands what this creative life is all about.

Are you an early riser? or night owl?
I'm an early riser…a little too early some days! I've been an early wakening insomniac my entire life.  I drove my parents crazy wandering around the house as a child and lost college roommates because of my dawn rising habits..  However, I was perfectly suited for attending to my babies when they were sick or having nightmares!

Seriously, I don't have the problem consistently but I often do a lot of creative problem solving at 4 am!  I am a true lark in that I am fully awake the second I wake in the morning and my brain goes instantly into high creative mode.  I'm at my very best creatively from early morning  through mid afternoon. I will usually save less creative work for later in the day when the right side of my brain takes a break and allows the other side to take over.

What is your favorite food?
Lettuce. Actually, pretty much all vegetables…and fruit. I was born a rabbit, surprising everyone who watched a 2 year old devouring veggies instead of wanting cookies. I'm still not into sweets although I do love rhubarb pie and super dark (86-92%) chocolate. I'm also a tea drinker and LOVE anything Chai. My family thinks it's funny that I will procrastinate going to the grocery as long as possible if I can still make a salad.  Once I run out of lettuce, however, it turns into a high priority emergency run!

You can find Gail:
Gail Green
Gail Green Licensing & Design
847-951-9254
www.sweetpetatoes.com
www.gailgreen.net 

For a glimpse inside the artist behind the Sweet PETatoes brand, visit my blogs:
http://gailgreen.blogspot.com http://olliecraftyparrot.blogspot.com 

For licensing queries and a preview of my art, please contact my licensing agent Julie Ager  (Artistic Designs Group) at www.artsdg.com or www.artlicensingshow.com

Thanks Gail for all of your insights!
Do you want to be spotlighted? Send me an email: info@AnnGraphics.com
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Art Licensing Newsletter - Happy New Year!

Happy New Year Everyone! 

I am giving you a look at what my Art Licensing Newsletter looks like ;-) Click this link to see past issues too! http://eepurl.com/bLzjiX  I have been known on occasion to give away stuff - newsletter subscribers are the first to know!

If you want to guest post or be featured on my blog, send an email to info@anngraphics and let's chat :-)

Wishing each and every one of you the VERY BEST 2016!

Bo's bLAWg - Certificates of Authenticity

  

 

MJ Bogatin (“Bo”) of Bogatin, Corman & Gold, is an Arts and Entertainment Attorney in San Francisco.  He is also Co-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!

 

 

It’s that time of year – the time of year when I am privileged to receive Seasons Greetings from  many of my wonderful artist clients.  And one I received yesterday reminded me of an issue that should be of interest to all of You artists:  Certificates of Authenticity. 

Often, I receive a gift that is clearly a print, but there is no specific information accompanying it other than the artist’s copyright notice and a note.  As an attorney, seeing that the artist has included a copyright notice on the artwork is good, but as a collector, I am interested to know more about the subject matter of the work and the medium:  lithograph, serigraph, pochoir, monoprint, monotype, etching, woodcut, screenprint, digital print or counterproof?  (Yeah, I Googled “kinds of prints.”  Even so, I DO want to know!)

And, if applicable, for valuation and insurance purposes, I need to know the specifics of the Fine Print Edition.  This is where Certificates of Authenticity come in to play.

There are more kinds of prints than ever before.  Unless the recipient of a gift reproduction is provided information about it, there is no way for them to know how truly special it might be. From time to time we also hear that someone has issued a fraudulent edition of some famous artist’s image, and the market has been flooded with prints that may or may not be authentic, damaging collectors and destroying the market for that artist or her Estate.

In California, this problem was so prevalent that the Legislature decided to do something about it.  They passed a Fine Print Disclosure Law that not only protects “consumers” (buyers), but the value of the entire edition for collectors and artists alike.  In short, Civil Code Section 1740 et seq provides that retailers of Fine Prints and limited edition sculptures and photographs priced at more than $25, unframed, must provide purchasers with basic information about the edition.  This law provides for disclosure in writing of not only the identity of the artist, but the medium, whether the multiple is a limited and if so the number of multiples in the limited edition, the time when the multiple was produced, and if a “plate” is used, what becomes of it.  (i.e. Is the plate destroyed so that a new edition cannot be made from it?)  See:

http://www.leginfo.ca.gov/cgi-bin/displaycode?section=civ&group=01001-02000&file=1740-1741
http://www.leginfo.ca.gov/cgi-bin/displaycode?section=civ&group=01001-02000&file=1742-1744.9

The consumer remedies in the event a seller does not comply with this law is return of the artwork and a full refund regardless of any claim that “All sales are final.”  If an art dealer in California willfully fails to provide this information, they can be liable for three times the value of the work, and a civil penalty of up to $1,000.  And if the buyer has to sue to enforce these statutory remedies, they will be entitled to recover their attorneys’ fees and costs!

While there may not be exactly comparable statutes in your state, I still strongly recommend the use of Certificates as a way to both inform people about your prints and impress them with your business acumen.  The client who brought me his multiple customized his Certificate and made it a collectible in its own right.  (See above.)  However, the form of the Certificate can be quite simple and straightforward, including the following information, which you can copy and paste:

CERTIFICATE OF AUTHENTICITY
Compliant with California Civil Code §1744

Title:    _____________________
Artist/Photographer:    _____________________
Signature:    Each print is hand signed.
Release:    [December] 201_
Copyright:    © 201_ ___________________
Description of Edition:    Limited Edition of ____ [11x14] prints plus Artist Proofs.
Print Date:    [December] 201_
Print Size:    [11x14]

A few words about this image:

This is to certify that all information and the statements contained herein are true and correct. I created this fine art multiple from [photographic matter]. [This image is printed on archival paper, and with proper care your artwork should last over 100 years.]
___________________________        ___________________
Artist                        Date

So, make your holiday Limited Edition print gifts even that more desirable by providing a Certificate of Authenticity.  Especially to your attorney! 

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

 

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

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

Artist Spotlight - Kimberly Baxter Packwood

Tell us a bit about yourself: Did you go to school for art? Are you self-taught?
A little bit of both actually.  My aunt taught me how to stitch at the age of seven and my paternal grandmother taught me how to hand sew and use a treadle Singer sewing machine at the age of nine.  I continued to seek out different crafting techniques until the 1990’s when I switched my degree from Chemistry to Art Craft Design at Iowa State University, Ames, Iowa.

Do you work in just one medium? Several?
I’m a Mixed Media Fiber Artist and have recently started licensing my designs.

For the past twenty plus years I have worked with natural dyes, rust, earth pigments, and oxides on fabric which I then further embellish with hand and machine stitching.  My work depicts the prairie and plains both in ancient times and in modern times with corn as the unifying theme.

What inspires you / where do you get inspiration from?
I gather inspiration from where ever I am at the moment. My favorite place to visit is a natural marsh and native prairie north of Ames where migrating birds come to nest and feed every year.

I’m intrigued with the microscopic world of lichens, mosses, and liverworts; these lifeforms inform the base texture of each piece I create.  I spend a lot of time studying birds, cows, bison, corn, native plants, and the wind, which figures predominantly in my work. 

What are you working on now?
Currently I am taking an online drawing class which has been a wonderful refresher, given that my last drawing class was some twenty years ago now.  It has caused an intense need to re-examine my work, the corn, crow, and bison pieces, so I’ve been drawing a lot recently exploring these subjects in a way that stitch doesn’t allow due to time and material constraints.

The other project I’ve been working on is mastering Adobe Illustrator and Photoshop so that I can digitize my original art into repeat patterns, and designs for fabric, paper, household goods, and the gift market.

Any great advice for our readers?
Advice No. 1:  Don’t be afraid to go back to the fundamentals of art.  Take a beginning drawing, painting, lettering, or design class.  There is much to learn again and now you will see it through the eyes of experience.

Advice No. 2: Observe.  Be still, listen, what do you hear, smell, taste, see, or feel?  All of this information informs your artwork, study it and your work will reflect this valuable information.

Anything else you would like to share with us?
Don’t give up! If at first you are told no, just keep asking!  It took two years from the time I submitted my first design to the time I saw my first royalty check.  Don’t give up, these things don’t happen overnight!!!

Are you an early riser or night owl?
I’m a Night Owl and have been for the better part of thirty years now, my best works occur late in the evening/night when there are no distractions like a ringing phone.

What is your favorite food?
My current favorite food is Sushi and Raman bowls the real stuff not the stuff in the package.

You can find Kimberly:
www.kbaxterpackwood.com  
email  prairiefibers@hotmail.com
http://kbaxterpackwood.blogspot.com/
http://www.spoonflower.com/profiles/kimberlybaxter_packwood
You can also find me on facebook, twitter, flickr, linkedin, instagram, and youtube @kbaxterpackwood

"Fear is an addiction to failure". - kbaxterpackwood

I REALLY appreciate all of you that help spread the word about my blog <3

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 ;-)