I was talking with a manufacturer the other day about art and licensing. (They have requested to remain anonymous) I won’t bore you with all the details but here is a point they made that I thought was worth repeating. I know I’ve said this many times, but wanted you to know it came straight from a manufacturers mouth as well.
Licensing with manufacturers is “commercial art” not “fine art”.
Artists shouldn’t be emotionally tied to every detail in their work because manufacturers know their markets and what is needed to make the art work for their products. Changes are inevitable and usually shouldn’t be resisted because, in the end, “You don’t get paid if you don’t sell it.”
I for one, want to get paid, so I have a mindset of working as a partner with my clients and not resisting change requests, how about you?
– Tara Reed
Thanks Tara!
Great “reminder” that art licensing is a “two-way” street… Fine art… “one-way”. Just get clear on what street you want to be on!
oxxo Valerie
But it can be Fine Art. Think SueEllen Ross. The Hautman Brothers. Robert Bateman. Thomas Kinkade. They create paintings first. It’s what connects with their audience. That connection is what sells their calendars, stationery, greeting cards, and gift items.
I do agree that often paintings, or elements of a painting, must be cropped, photoshopped, tweaked to make them work for product. And not every painting will work for every product. But that doesn’t mean that we should only be painting what is trendy at the moment.
As artists we usually dedicate our time, our effort, our hearts, and our souls to our work. And more often than not, sacrifices are made in the process. So becoming emotionally attached to our art can an easy pitfall for many of us. I personally am still working on my collections before I approach manufacturers, but I plan on remembering your tip when the time comes. Not only will it lead to getting paid, but my guess is that it may also lead to a good reputation and more contracts which in turn means bigger/more paychecks.
Your post reminded me that someone recently (and innocently) said that my work is very “commercial looking”. Many (fine) artists would take offense to that, but of course I can take it as a compliment since that’s what my target audience is. Thanks for the good advice as always, Tara!
Tara I just wanted to thank you for this post. I’m just now beginning to learn the things I need to learn in order to take the leap into licensing my art. You have so much solid information and give such valid hands on advice. I look forward to reading and absorbing everything you write! Thank you so much for taking the time to help others who are interesting in becoming commercial artists.
You are right on, Tara. The manufacturer’s know their target market best, and your license is going to be financially successful if you are able to “bend in the wind” a little. Often our licensees will go in a direction we don’t completely agree with, but you have to trust they know what they’re doing.
There was only one time where we absolutely wouldn’t allow the changes made to the artwork, but it was because the factory in China had lost the original file and attempted to (poorly) re-draw the art themselves!