There seems to be, lately, a rapid proliferation of blogs,
social contact groups, websites, coaching seminars and classes
revolving around art licensing. In many ways this is wonderful
– talented people of like mind sharing their work and
helping each other grow and prosper. Unfortunately, more and
more the message is reading something like the matchbook:
Can you draw Sparky? You too can have a great career in Art
Licensing!
Well, maybe….or maybe not.
My intention here is not to throw a wet blanket over the
aspirations of artists who want to license their art. We have
had great success over the years representing artists and
I will be the first to say it is possible to have a long,
profitable career in art licensing. Rather, I want to introduce
a voice of reason, suggest a bit of caution - take off the
rose colored glasses and look at some realities of the industry
with me before committing your time and dollars. Lots of time
and significant dollars, I may add. We read the blogs, follow
the groups, and contribute when appropriate, however there
are some things that need to be said - and no one is saying
them - so here are a few points to consider:
Your style may not lend itself to product applications,
may not have a unique quality and/or your art is just
not good enough - but no one has had the heart to say
it. There is also the “one idea” or “one
category” scenario – what will you do next?
We are approached by artists every week of every month
and see all of these problems (and more) repeatedly. Simply
put, the majority of artists are not right for licensed
product. Licensing agents make their living by representing
art that can be sold (licensed) and they will usually
snap up anyone they think has significant potential. You
may not be a fit for a particular agency for any number
of reasons, but if you have shown your work to several
agents and they all have passed, it is likely time for
a reality check.
Not all of the “coaches” are qualified to
help you and they may not have your best interests at
heart (see point number one). There are some wonderful
people offering coaching who can, at a reasonable cost,
be of immense help to you. There are some people who are
self proclaimed experts who have little or no art licensing
experience (it’s different) and are happy to take
your money, sometimes thousands of dollars, regardless
of whether or not you can actually succeed in this business.
And there are of course some in between. Tread carefully.
Art licensing is a long slow road to success, in fact
we joke about it being a “Get Rich Slow” scheme.
Most of the successful licensed artists have been at it
for many years, sometimes 20, 30 or more, and are still
producing new designs most every week. It also is not
unusual for them to have re-invented themselves along
the way, finding it necessary to produce work that is
right for the market instead of vainly searching for the
market that is right for their work. The point is that
you need to take the long view and be able to not only
survive, but also stay focused and adaptable during the
multi-year, multi-license building process. Don’t
let them tell you otherwise, there are very few exceptions.
Years ago I sat in a class of eager new real estate agents
when the instructor walked in and told us “Look
around – in one year 50 percent of you will no longer
be in real estate”. I would suggest that some variation
of that statement also applies to art licensing. Contrary
to popular opinion, there are not an unlimited number
of available licenses just waiting to be picked up. Companies
are downsizing, disappearing, cutting programs and buying
outright instead of licensing. Royalty rates are eroding
and shelf time is now counted in weeks or months instead
of years. There are dozens of new artists, some cut from
those very same companies, entering the market every month
(and yes, dozens give up). Licensors - from the best at
the top of the industry to the newest at the bottom -
are scrapping for every license they get.
Trade shows are not art fairs, they are business to business
events held by promoters to make a profit. (Repeat that
several times). While show management companies will offer
varying levels of support to the exhibitors, they are
not going to be focused on promoting the individual career
needs of artists. Get used to it. As an exhibitor spending
thousands for a show booth, you will also be less likely
to encourage non-exhibiting artists to attend and meet
with your clients in the aisles and lobbies while you
foot the bill for the venue. Your competitors may be friendly,
and some will become your friends (and if you are as lucky
as we are some will be very good friends) but you are
still splitting up the same pie and everyone wants the
big slice.
Finally, this is an industry, a business. It may be
based on art and artists but it isn’t about having
shows and comparing notes and admiring each other’s
talent. It is about marketable product design, customer
demographics, contracts, deadlines, endless submissions
and cancelled programs. If you are any good you will get
knocked off regularly by overseas factories and you may
or may not find out, and even if you do, you may not get
paid. Royalties have to be analyzed, payments have to
be pursued, and samples (if you get them at all) have
to be chased down. If you can’t handle the details,
or find someone who will do it for you, your licensing
career will be painful and likely short lived.
This may sound dire but of course it’s not all bad.
We have a lot of fun in this business of art licensing and
still do the happy dance whenever we make a nice deal for
one of our artists. It’s an industry where clever and
talented people come together to make great things happen,
but in order to succeed you need to really, really want it.
Most artists come into the art licensing business, land a
few contracts and then after a couple years of the grind stop
refreshing their portfolio and fade away from the market.
It doesn’t take too many fingers and toes to count the
recognizable names in art licensing – those that have
hung in there, figured it out and made it work. This doesn’t
scare you? Maybe you can have a career in art licensing -
come on in and join the fray.
