Transition to Art Licensing

I have spent the last 20 years doing illustration. As many of you know, the way of an illustrator is wrought with rejection letters (or 'not now' letters), door knocking, mailers, ads in big books of art, portfolio sites and an agent or two. That has been my life as an illustrator, but that was the path of an editorial or advertising illustrator. Not the path of Art Licensing. As I am in the thick of a new direction artistically, I find myself learning all over again, learning what works, what doesn't, and what is expected.

The largest difference I have found with Art Licensing is that as an artist I have more in common with writers than I do editorial or advertising illustrators. When you make the transition to licensing you will find that you spend a LOT of time making art. Making and mocking up. Making and mocking up. And NOT getting paid for this time. This is a foreign concept to me. As a freelance illustrator all these years, I have gotten jobs, and created the work for the client. We go through sketch stage, revisions, final artwork, and voila, done. But with Art Licensing, get ready to work tirelessly, and then spend hours, days researching and sending your babies out into the world and hope one of them lands in the right hands, at the right time.

Do not get me wrong this isn't a bad thing, just different. I find that even as I migrate over to licensing, I am reorganizing the way I do art, and becoming more methodical in the art I make. I now spend time trend watching, identifying markets for my work, researching the visuals that I will put my spin onto, and then creating art. Once the art is created I have to put it on a product that I think the art is a good fit. I have spreadsheets of manufacturers, contact names, and I record what they make, and if I send anything I detail responses, what my follow-up is.

Now, my art is 'the product'. I manage the art similar to a small business person manages their creation. I have to find people to sell it to, just like any other manufacturer. So in many ways, my client and I share a lot in common. Art Licensing is very much so both 'business' and 'art'.

color stuff

Ok it has been a long summer. Full of camping, road trips and inspiration. Now school is back in session, my youngest is finally in full-time school and I can get back to work.

Getting back into the groove included an informative session this morning at the Oregon Convention Center for a presentation on the Spring/Summer color forecasts for 2011 by PeclersParis. It was fun to see the textures, colors and vision proposed for fashion. For any of you other artists out there looking for color forecasts, I thought their site was a bit challenging, but if you have the opportunity to see their presentation it is worth the 20 bucks.

Another item I am in love with is the new Pantone color app. I should rephrase, I am in love with the concept. Just saw the info in my inbox yesterday so will download it today and take it for a test drive. Anyone already have this app and have an opinion? What looks so awesome about it is that you get the matching system for coated, uncoated and matte, a well as the fashion and home for paper and cotton libraries. It allows you to capture colors from your photos and snap to closest Pantone color. Yes the list goes on and on.

Color seems to be an ongoing challenge. How to see what is hot, what will be hot and then apply it to your own work. Another resource I have used is Mpdclick. Great spot to check out high end cool, and get inspired by some wonderfully fun palettes.

I would love to hear what sources you use for color forecasting (besides general home goods shopping). It can be expensive to buy the forecast books, so tell me if it is worth the cost. Or if you can do just as well without them.