Licensing FAQ

I get a lot of email from artists who are interested in getting started in Licensing.  Below are the most frequently asked questions but if you don't see your question addressed below, please feel free to contact me via email and I will return your email as quickly as possible. I generally am not able to take phone calls, please email if possible.

What is Licensing? Licensing is a contractual agreement between you, the artist, and a manufacturer of a product (the licensee).  They use your art work to enhance their product and in return you are paid either a flat rate or a royalty.  As the artist, you hold the copyright on your design and the licensing agreement allows the licensee a non-exclusive right to reproduce your work for a set period of time.

How do I get started? There are two major licensing trade shows each year.  These are shows where the artist or agent sets up a display and the manufactures from all imaginable industries come to find the work they will license on their products.  Both shows are in New York, a month apart in May and June.  They are the premiere shows that draw both big and small manufacturers from all over the world.  The May show is Surtex and the June show is The Licensing Show.  By attending the shows, you can look at the art and artists being represented as well as take educational seminars about the business of licensing.  It is one way to see if licensing is right for you.  Because the manufacturing companies vary so much, it is also a good idea to attend specific industry trade shows as well.  The National Stationary Show runs at the same time as Surtex in the same building and it is a good idea to walk the show to help you decide a direction for your design approach.  Of course the internet is a fabulous way to gather information and most of it is free.  Don't be shy about asking other licensing artists how they got started and what to do - most of us remember the help we got when we first started.

What should I design? First and foremost to succeed as a commercial artist you need  to develop a unique style.  If you are copying someone else's style you can't be successful because they have already done it. 

I always try to design with product in mind.  If I haven't been given a specific product to design for already then I look at the current design and color trends.  Both are very important - a manufacturer is not going to spend money to produce a product that isn't in fashion.  It is important to understand that your artwork is one of the first steps in the manufacturing process and it could be two years or more before you will see the product on store shelves.  That means you will have to anticipate trends two years in advance.  It is important to subscribe to trade publications, and industry magazines to watch for design and color trends as they are just emerging.  If you've seen something for several years, it could mean it's on the way out. 

I also design an entire line at one time, unless I am designing spot illustrations.  Even then there is usually more than one central image in a theme.  Backgrounds, borders, sayings and a central theme all need to be included to make up a line with enough for the manufacturer to use on their product.

What medium should I use? The majority of the manufactures will want your work in digital form.  Any knowledge of the computer that you have is just a bonus to give them what they need.  I design all of my collections in a digital format and save them in layers for quick and easy color or design changes. I then flatten the image and save as a min. 300 dpi file. This is what I will send to my client. I also save a low res JPEG to have available for quick emailing or to post on my web.

Is Licensing for everyone? Only you can decide if you want to give licensing a shot.  It can be very expensive to get started and because you generally don't get paid until the product is sold to retailers it can be awhile before you see any money at all.  As I suggested above, it is a good idea to walk a trade show and to see who is successfully licensing and how what you do compares.  If your grandma is the only one telling you that your work would sell a lot of greeting cards, then approach it cautiously.  Discussing your art with a Licensing agent (see below) might be a good way to evaluate whether your style is suitable for the industry.  Remember that licensing is just one approach to commercial art and you might be better suited for a different path. If you feel licensing is right for you then approach it with optimism, set reasonable goals, curb your expectations and be ready for a lot of emotional ups and downs. Licensing is a very big industry with  unbelievable  opportunity for everyone, but patience is required.

Do I need an agent? An agent's job is to get you work and handle the details of your contracts once you have a contract.  Most agents have you sign a contract for a year or two and then both parties can evaluate whether or not things are working at that time.  Agents work on a percentage basis, generally a 50/50 split with the artist.  Some agents represent just one artist, some will take on as many as 25.  Most agencies try to keep their artist representation to around 10.  Most artists do best with an agent because it is not in their nature to handle the business side of things.  Also it is a great way to learn about the industry from an insiders perspective - a year or two with an agent can be a worthwhile education.  The agents already have all the connections so you are a step ahead right from the start. Trade shows and the internet are a good way to find an agent.  Remember that a good agent is going to be busy at the show and it might work best to set an appointment to discuss your art or even send a portfolio after the show. 

Personally, I don't use an agent but that is only because I enjoy the business end of the job as much as the art.  I love to stay in personal contact with my clients and I like being able to set my work pace.