Friday, March 31, 2017

Bo's bLAWg - Copyright and Useful Items

 
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!

What is this I heard about a copyright and cheerleading uniforms case before SCOTUS?  Does it have anything to do with design licensing?  (BTW I love your bLAWg, Bo!)  Jeff

Always happy to discuss copyrights in the news, Jeff!  Let me summarize the case to which you are referring.  It is called Star Athletica, L.L.C. v. Varsity Brands, Inc.  Varsity Brands is one of the largest purveyors of cheerleading uniforms in the country.  Star Athletica is a smaller competitor.  Varsity registered its copyrights on certain “chevron designs” used in a new series of uniforms.  Star’s catalogue the following year included a number of similar chevron designs in its new uniforms.  Varsity sued.

What is a chevron?  I didn’t know!  Here is a link to some other legal bloggers who dug up the Varsity copyrighted designs and the Star catalogue uniforms:  https://www.knobbe.com/news/2016/11/chevrons-stripes-cheerleaders-and-copyright-supreme-court-hears-oral-argument-star  Now I know what a chevron is! 

The matter sounds straightforward enough, doesn’t it, Jeff?  What’s the issue that brought such a case all the way to the SCOTUS?  It is simply this:  Is the Varsity chevron an article that is part of a useful item like a cheerleading uniform, or is it something else; something uniquely creative simply added to the useful article? Copyright does not apply to “useful items”.  It has always applied to the sculpture that is turned into a lamp, and the illustrations that are added to mugs, but what about clothing?  Historically, clothing and its elements, from zippers to hidden pockets, have always been considered useful items.  Some of these items may be entitled to patent protection, but not copyright.

Copyright is limited to “original works of authorship” that are not in themselves “functional”.  (See 17 USC Section 101:  https://www.copyright.gov/title17/92chap1.html#106a )   Section 101 defines a useful article as:

an article having an intrinsic utilitarian function that is not merely to portray the appearance of the article or to convey information. An article that is normally a part of a useful article is considered a “useful article”.

Reasonable minds can differ.  The Federal District Court in Varsity’s copyright infringement case found that the chevrons had a utilitarian function with respect to the uniforms.  Varsity appealed.  The Federal Circuit Appellate Court reversed, finding that the chevron was a design that “incorporates pictorial, graphic, or sculptural features that can be identified separately from, and are capable of existing independently of, the utilitarian aspects of the article” per 17 U.S.C. § 101.  Star appealed to SCOTUS.  Undoubtedly, as indicated by the reversal of the original Judgment, Stars’ attorneys considered this to be “a close question.”  And no doubt there were a lot of damages at stake.  Remember, having lost on appeal, Star could be liable not only for large damages, but for all Varsity’s attorneys’ fees and costs incurred for bringing their action, as well as Stars’ own.

When it came right down to it, SCOTUS did not consider this to be such a close question.  It applied the usual legal “test”:  Do the artistic features of the useful articles includes a separate identification or “separability” requirement and an independent existence requirement.  More particularly, “(1) can the chevron designs be perceived as a two- or three-dimensional work of art separate from the useful article and (2) would they qualify as a protectable pictorial, graphic, or sculptural work either on its own or in some other medium if imagined separately from the useful article?”

Justice Thomas, writing for a five-member majority of the Court, affirmed the Judgment of the Sixth Circuit Court of Appeals.  This majority identified the two key requirements – that the chevron features were separately identifiable from the cheerleading uniform, and are capable of existing independent of the utilitarian aspects of the uniform.  It also reasoned that removing the surface decorations from the uniforms in the abstract and applying them in another medium would not replicate the uniform itself.

So, Jeff, you want to make a million bucks?  Attach some of your original artwork in ambiguous fashion to a top-selling article of clothing.  Register your copyright, and let me know when you someone infringes on your design.  We’ll rack up.

Disclaimer:  The information contained in this website is not intended and should not be relied upon as legal advice. Because the law is not static, and one situation will differ from the next, the results will differ as well, thus we do not assume responsibility for any actions taken based on any information contained herein. Also, be aware that the laws vary from state to state. Therefore, this website cannot replace the advice of an experienced attorney who practices within the jurisdiction involved in your issue or dispute. Receipt of this information does not create an attorney-client relationship. MJ Bogatin, Bogatin, Corman & Gold www.bcgattorneys.com
© 2017 mjbogatin


Have a legal question? email it to info@AnnGraphics.com. I will forward it to Bo. It might be a blog post! You can search "Bo's bLAWg" to read more posts. I am looking forward to your comments and thanks for sharing this great information on social media.

 

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Friday, March 24, 2017

Agent Spotlight - Brenda Manley Designs


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

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

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

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

Alyssa Kays - AKD_15C001_Candy_Christmas_Train_Card_OP

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

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

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

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

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



Want to be spotlighted? email me info@AnnGraphics.com. I am looking forward to your comments and thanks for sharing this great information on social media.

 

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Friday, March 3, 2017

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


Want to be spotlighted? email me info@AnnGraphics.com. I am looking forward to your comments and thanks for sharing this great information on social media.

 

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Friday, February 24, 2017

Bo's bLAWg - Continuation Fees to Licensing Agents

 

 MJ Bogatin (“Bo”) of Bogatin, Corman & Gold, is an Arts and Entertainment Attorney in San Francisco.  He is also a long-time President of California Lawyers for the Arts. www.calawyersforthearts.org. Bo is available to answer some of your questions surrounding the business of Art Licensing. - THANKS BO!

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

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

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

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

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

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

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

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

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

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

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

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

Disclaimer: The information contained in this website is not intended as legal advice. Because the law is not static, and one situation may differ from the next, we cannot assume responsibility for any actions taken based on information contained herein. Also, be aware that the law may vary from state. Therefore, this website cannot replace the advice of an experienced attorney. Receipt of this information does not create an attorney-client relationship. MJ Bogatin, Bogatin, Corman & Gold, www.bcgattorneys.com

Have a legal question? email it to info@AnnGraphics.com. I will forward it to Bo. It might be a blog post! You can search "Bo's bLAWg" to read more posts. I am looking forward to your comments and thanks for sharing this great information on social media.

 

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Friday, February 17, 2017

Agent Spotlight - Debby Leggat, Blue Sky Art & Design

 

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

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



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

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

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

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

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


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

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

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


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

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

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

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



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

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Friday, February 3, 2017

Artist Spotlight - Amy Kirkpatrick

 

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

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

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

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

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

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

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


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

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

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

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

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


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

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

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

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

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

What is your favorite food?

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



You can find Amy:

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

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Friday, January 20, 2017

Bo's bLAWg - Online Licensing Websites (VIDA / ShopVIDA)

 
 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!

I've known several artists approached by VIDA.  I'm attaching their Artist Contract and am wondering what you think of its terms?  Montana

Thanks for your question, Montana.  I have had occasion to consider a few different online licensing websites.  Some, like VIDA, promote themselves as a “Manufacturer on Demand.”  I doubt that they themselves are manufacturers.  They are more likely, the “intermediary.”

I can see how an online website licensing would be an attractive business model to entrepreneurs who have relationships with manufacturers (or their US tradeshow representatives).  If the website can sign up lots of artists, it is possible that they can make a lot of money from the sales of products with artists’ designs, whether to the public – or even more likely, to the very artists whose artwork has been licensed.  Many artists just want to see their work featured on products, from placemats to scarves.  If the online licensee can entice the artists themselves to purchase enough of a given product – and the manufactured product prospects are unlimited -- current digital imaging allows the manufacturer to easily change out designs.  Small quantity orders of a few hundred units can be profitable with overseas, non-union manufacturing, with a generous mark-up on the re-sale of such inventory to artists -- and possibly to retailers.

As for the licensor artists, I suspect that this not an unduly expensive way to obtain a decent inventory of select products bearing their designs.  However, I doubt that there are many commercial success stories generated from sales from these websites.  If I am in error on this, I would like to be informed of it!

When I dig into VIDA’s, not only do I find some very objectionable terms, I also find an emphasis on asking the artist to invest in the purchase of models promoting their pending product line, and discounts available for purchasing $300+ of the merchandise.  If every artist who signs up agrees to the marketing photos and a minimum purchase of select products with their very own designs, clearly, the business model has income potential to the purveyors if not the artists!

Upon signing up with VIDA and uploading two illustrations, it is my understanding that artists are asked to become “a featured designer on VIDA with a Curated Collection.”  In conjunction with this invitation there is an ask for money summarized as follows:

To claim your curated collection, you can use one of two private codes listed.  With “Code Curated 25,” the artist is invited to receive one professional lifestyle photo of a model wearing an item from your collection.  Check out with $300+ worth of merchandise in your cart and enter the promo code, “Curated25” at checkout, and 25% will then be taken off your order.  You will also get a curated collection page with one professional lifestyle photo of a model wearing an item from your collection, and at least one of your products product featured on the VIDA Shop All page with professional lifestyle photography.

If you select Code Curated40, you receive three professional lifestyle photos of a model wearing items from your collection.  Check out with $900+ worth of merchandise in your cart and enter the promo code, “Curated40” at checkout, and 40% will then be taken off your order, and you will get a curated collection page with three lifestyle photos of a model wearing items from your collection, and at least one of your products featured on the VIDA Shop All page with professional lifestyle photography.

Again, this is an extremely limited offering since we can only offer curated collection upgrades to a small group of artists. Since we have limited space for curated collections, we are limiting the availability to upgrade your collection until just October 30th, only 4 more days.”

This promotional material is said to be “extremely limited,” but as far as I know, it has been posted indefinitely.

Of critical importance, as always for me, are the terms that are imposed by the website licensee on the artist who clicks “Agree.”  As for the VIDA Agreement, http://studio.shopvida.com/terms-and-conditions , I have a number of concerns about its terms, many of which are wholly objectionable.

With reference to my prior Basic Licensing Terms bLAWg, http://annietroe.blogspot.com/2015/02/bos-blawg-what-should-be-in-art.html , note first that the grant of rights to any images uploaded is immediately “exclusive and perpetual.”  This means that whether or not anything is made of the artist’s imagery, (and there is no guarantee that there will be!), the artist has no further right of use to it for licensing purposes!

Furthermore, the artist gives up any right to object to the way in which her imagery may be used on any given product – by itself or in combination with other imagery -- or the quality of the product itself!

While VIDA requires the artist to provide their photograph and biographical material, there is no obligation on VIDA’s part that it will post or use this information in conjunction with its promotional efforts on behalf of such artist. To the contrary, in an accompanying “Plain English Terms” explanation of the Agreement, VIDA makes clear that artist imagery may be used without a copyright notice or artists brand or logo.  This not only deprives the artist of a key reason for licensing her imagery, but suggests to the public that there is no copyright claimed on the imagery used on the products, and the prospect of unlimited “innocent infringement” with minimal damage claims despite artist’s registered copyright.

A Ten Percent is offered on VIDA’s “Net Sales.”  Revealingly, this 10% is offered as a “sales commission” to the artist rather than a royalty.  By calling it a “sales commission,” clearly VIDA expects the artist to be the seller – not VIDA or retailers to which it is ostensibly marketing the products.

The Net Sales definition includes “discounts” and “bad debts,” neither or which would the artist have any control over.  Too bad if it was Uncle Lenny who failed to pay for those 500 units that he bought wholesale for resale to retailers of his acquaintance(!)   And to make matters even worse, the VIDA Agreement expressly rejects any obligation to verify its listed sales information or an audit, both of which are standard provisions in legitimate licensing deals.

If these particular provisions are not bad enough, VIDA then states that it “reserves the right to change these terms at any time.”  Somehow, I doubt such changes will be for VIDA artists’ benefit!

It is my understanding that there are a number of such online businesses including Society6, RedBubble, Art of Where, Minted and Bucketfeet.  If you have questions about their contract terms, I’d be pleased to comment on those as well.

Disclaimer:  The information contained in this website is not intended and should not be relied upon as legal advice. Because the law is not static, and one situation will differ from the next, the results will differ as well, thus we do not assume responsibility for any actions taken based on any information contained herein. Also, be aware that the laws vary from state to state. Therefore, this website cannot replace the advice of an experienced attorney who practices within the jurisdiction involved in your issue or dispute. Receipt of this information does not create an attorney-client relationship. MJ Bogatin, Bogatin, Corman & Gold www.bcgattorneys.com
© 2017 mjbogatin

Have a legal question? email it to info@AnnGraphics.com. I will forward it to Bo. It might be a blog post! You can search "Bo's bLAWg" to read more posts. I am looking forward to your comments and thanks for sharing this great information on social media.

 

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