Art Licensing Editorial: 2014 Atlanta Gift Show - insights on walking the show

This is the second of three articles about the Atlanta International Gift & Home Furnishing Market. As the title to this article implies, it really does mean that by attending the show you do walk it which can be hard on your feet since the AmericasMart campus is huge. So, wear comfortable shoes or you will not be able to see much of it. The purpose in going to the Atlanta Gift show is not only showing art for licensing consideration and getting contact information from the manufacturers exhibiting but MUCH more! It is also to learn about the licensing industry, learn what kind of art manufacturers & retailers are looking for, and spotting art and color trends. So, you need to observe, talk to whomever you can, and ask questions. Read the first article "Art Licensing: 2014 Atlanta Gift Show - the amazing AmericasMart campus" for information about the AmericasMart and how a person can attend the gift show.

Walking the show can be exhausting and it is easy to get overwhelmed with information and looking at "eye candy". The floor to ceiling glass windows of the showrooms allow you to see an amazing number of products as you walk down hallway after hallway after hallway. And do not presume that because a showroom is empty of buyers that the manufacturer is having a bad show because ten minutes later it can be packed with buyers. For some unknown reason, people attending any type of show seem to move through them in packs. Hint: I found it helpful to take plenty of breaks to relax from sensory overload and write down notes on what I saw and heard. Note: The AmericasMart policy does not allowed photos to be taken unless permission is given by the exhibitor. Attendees are allowed to bring rolling briefcases or rolling laptop size cases but nothing larger. But, these still tend to be a tripping hazard and gets in the way. Most people carry tote bags or backpacks for literature and other items.

SHOWING ART
Not all manufacturers have their own permanent showrooms at the AmericasMart. Some use a distributor(s) that have showrooms, some have temporary booths during the shows, some have permanent showrooms and also use a distributor, or use a distributor and have a temporary booth. Thus, you may see products from the same company in several showrooms or booths.

Persons responsible for selecting art for licensing consideration (art/licensing director or owner of the company) attend the Atlanta Gift show for at least two or three days of the show. They do not often go to the smaller regional gift shows. Because many art directors ( but not all) attend the Atlanta Gift Show and it is the largest one in the United States, it is the best one to attend to search for licensing opportunities. If you have contact information for the person responsible for selecting art, it is possible before the show to make an appointment with her/him IF she/he is attending the show and making appointments.

While walking the show, always look at showrooms that appear to have licensed art and products if you are interested in licensing your own product concepts. Ask at the information desk in the showroom if they license art and also ask who to contact and for their email address. It is smart to have with you an iPad with your art on it. You may have the opportunity to show your art to the companies art director or owner. The iPad is easier to carry than a large portfolio and an art director can easily flip through the images while standing in a crowded showroom or booth. Also, approaching manufacturer art directors are great ways to start building relationships that are very important in licensing your work. But, remember this is a wholesale show and you MUST observe show courtesy. The exhibitors are at the show to sell products to buyers so wait until the person is free before asking questions.

OBSERVE, o b s e r v e, observe
There is a lot of information available just by looking at the art on the products in the showrooms and booths. What colors and art themes are manufacturers placing on their products? What art styles are they using? And, is your art a good fit for their product lines? Do not waste your or the manufacturers time showing art to manufacturers that is not a good fit! For example, if you create whimsical styled art, it is a waste of time showing it to a manufacturer that ONLY wants contemporary graphic art styles or a weathered looking vintage art style.

Be on the lookout for new themes of images that appear on numerous manufacturer products. This could be possible trends that are at the beginning of a trend cycle and could continue for several/many more years OR not. And, when you are in a crowded showroom observe what products the buyers are looking at and commenting on. Also notice what products the buyers indicate to showroom reps they want to purchase. Every bit of knowledge leads to insight on the art that buyers think their customers will buy. And, that will help you decide on the art themes to create that will have a better chance in getting licensed.

Note: I attended two of the home decor seminars for buyers that were sponsored by home décor exhibitors. These seminars were given by expert and well known decorators. Several have their own HGTV home décor shows. The reason why I attended was to listen to their opinions about décor trends seen now in the market, about upcoming trends, and also to ask a few questions. Some home décor trends do filter down into the gift industry so the speakers opinions were insightful.

TALK and ASK QUESTIONS
Talk to everyone - manufacturers, fellow artists, art licensing agents, reps and owners in the showrooms and booths, and even buyers. Asking questions is a fantastic way to learn about products and art that sells. Put on a thick skin and ask art directors when they review your art why they do not like certain images of yours. Many are very frank with you and the information gain from that is HUGE. It gives you information on how to improve your work (technique, themes, colors etc.) so that you can create more licensable art. Artist and art licensing agent Ronnie Walter of Two Town Studios emphasized the importance of this in an artist Tara Reed Art Licensing Info Ask Call*. To paraphrase Ronnie, You need to listen very carefully when art directors are willing to constructively critic your work. Art licensing agent Jim Marcotte also of Two Town Studio and Ronnie's husband agrees in his blog article "Runnin' Wild in Atlanta" with the statement that getting the opportunity to get immediate feedback from the people who make the final decisions in choosing art is a great education that you cannot buy.

* Download a free audio recording of Ronnie and Tara's discussion at "Ask about Art Licensing".

While waiting to see an art director, talk to a rep if she/he is not busy. Reps like to talk to people about products and they may share information about the company and artists they license their work from. Information such as what art are big sellers and why they (the manufacturer) like to work with certain artists (easy to work with; knows what art consumers buy) would not be found out otherwise. And, even talking to buyers gives you an understanding about the retail business and what sells. At the show, I spent an enjoyable 45 minutes talking to a gift store owner while i was sitting in line waiting for artist Susan Lordi (Willow Tree) signing at the Demdaco showroom :) I learned a lot about the challenges in running a store in this changing economy.

Note: Maybe it is the southern hospitality in Atlanta but I was impressed with how helpful most reps in the showrooms were when I approached the information table and asked if they licensed art. One rep said that they did not license art but pointed me to another showroom that did. In another showroom, the reps did not know and actually chased down the CEO so that I could ask him. And, the CEO cheerfully gave me the information and told me a little about his company. That definably is not my experience when I walk the San Francisco gift show. Getting contact information is like "pulling teeth"! Of course, even in Atlanta there are some reps that are grouches and I did come across a few. And, I could not believe what another artist experienced when she went into a showroom that displayed her art on their products. She was made to feel very unwelcome because she was not a buyer although she explained that she had created some of the art on their products:(

Hint: For those of you that have a hard time approaching reps and showing your art, I will let you in on a little secret. It is hard AT FIRST but it gets easier the more you do it. I am an introvert and meeting strangers are VERY outside my comfort zone. When I started attending trade shows years ago, I had to force myself to approach a booth. It was agony. And, low-and-behold I found out that usually the reps were really nice. And, I learned not to take it personally when they were not nice. So now after years of practice, when I walk the shows I put on my social hat and actually enjoy meeting and talking to strangers. I am still an introvert and prefer staying in my studio creating art but I have learned that occasionally leaving my studio and meeting other people is not only enjoyable but can be educational.

MORE SHOW IMPRESSIONS
Below are a links to articles by others attending the show.

• Andrea Brooks and Dennis Kendrick "The Atlanta Show January 2014"

• Beth Logan "Atlanta Gift Mart 2014"

• Genevieve Gail "Atlanta Gift Mart Recap"

• Kathy Weller "AmericasMart 2014 trip and Demdaco Yoga Pals"

• Linda McMullan "Report from Atlanta Gift and Home Market" and "More Trends from the Atlanta Gift and Home Market" and "Three Big Lessons from The Atlanta Gift and Home Market"

• M & M / art baking "Atlanta Gift Show January 11, 2014"

• Patti Gay "Atlanta Gift Show"

• Rhoda (consumer) "The Atlanta Mart January Show"

• Stephanie Ryan  "Atlanta Gift Mart Recap Part 1 – Fleur for Magnet Works – Studio M" and "Atlanta Gift Mart Recap Part 2 – Santa Barbara Design Studio"

• Valerie McKeehan "Americas Mart Atlanta Re-Cap January 2014"

• Working Girls Design "2014 Starts off Right - Our Trip to the Atlanta Gift Show!"

SUMMARY
It is expensive to attend the Atlanta Gift Show because of airfare and lodging costs. So, use your time wisely in walking the show to learn as much as you can. Wear comfortable shoes, bring an iPad with your art on it, and a camera or smart phone to take pictures if you have the opportunity. Also do not forget to bring some business cards and postcards with your contact information on them. Pick up literature and magazines from the magazine racks situated near the elevators and escalators on each floor to peruse after the show. You can ask the manufacturer for catalogs but I found that not many will give them to artists because they are saving them for the buyers. Talk to everyone, ask questions and build relationships. And, learn as much as you can so that you have a better understanding about the licensing industry and thus a better chance in licensing your art.

RELATED ARTICLE
• Art Licensing Editorial: 2014 Atlanta Gift Show - trends

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Questions Answered about Art Licensing Agencies

Artists often ask if they need an agent to license their art, what does an agent do, what does an agent look for in an artist's work, what questions should an artist ask before choosing an agent, and what should they look for in a contract before signing on with an agency. Whether to hire an agent or not depends upon the artist's business skills and how much time they wish to spend contacting manufacturers, doing continual followups, negotiating deals, and managing contracts.

Below are links to articles by licensing experts stating their opinions and sharing their expertise about art licensing agencies. Use the information in the articles to make an educated decision on whether to hire an agent and hiring the right one if you decide to have an agency represent your work. To locate art licensing agencies, read "List of Over 50 U.S, Art Licensing Agencies".

Does an artist need an agent?
• "FAQ: Do I need an agent to succeed in art licensing?" by artist Tara Reed

• "5 Reasons Artists Need Art Licensing Agents" by artist Tara Reed

•"Artists - Do You Need an Art Agent?" by agent Maria Brophy for artist Drew Brophy

• "Artists or Agents? Tips by Susan January" interview of Vice President of Product Management Susan January from greeting card manufacturer Leanin' Tree by artist Kate Harper.

• "Interview with an Art Licensing Agent" interview of licensing director Julie Ager from Artistic Design Group (art licensing agency) by Artsy Shark

Questions to ask before choosing an agency
• "Questions to Ask Before Choosing An Art Licensing Agent" by agent Suzanne Cruise of Suzanne Cruise of Creative Service, Inc.

• "Interviewing Art Licensing Agents" by art licensing consultant Jeanette Smith of All Art Licensing

What does an agent do?
• "Agent Appreciation Day" by artist Jane Mayday.

• "Computer Technology Helps Art Licensing Agency" by agent Laurie High of V.P. Creative Connection, Inc.

What does an agent look for?
• "How to Become a Porterfield's Artist" by agent Lance Klass of Porterfields Fine Art Licensing

• "What does an agent look for? Advice from Jim Marcotte" interview of agent Jim Marcotte from Two Town Studios by artist Kate Harper.

What to look for in an artist/agency agreement?
• "The Artist - Agent Relationship" by attorney Joshua Kaufman

Comments are welcomed. Enter them in the below comment section.

Questions to Ask Before Choosing An Art Licensing Agent

When choosing an agent to represent you in licensing your art, there are many things to consider. For instance, is the potential agent passionate about your art and really wants to represent you, do you and the agent see eye-to-eye on marketing your art, and do you agree with the terms of the agent/artist contract. Of course, there are many other considerations and each artist has different needs so what may work for one may not work for another artist. Below are comments paraphrased from Suzanne Cruise of Suzanne Cruise Creative Service, Inc. in response to questions asked by members belonging to the Art of Licensing yahoo forum.

What is the initial length of time an agent represents an artist? The normal length of time is two to three years. With the economy being what it is and the severe competition for licenses, you have every right to ask for a shorter initial time frame. Even six months is enough to know if you two are a "match made in heaven." I prefer eight months but six is often enough. It is not unusual to take on an artist and have nothing come of it. An agent who finds they are not getting interest/contracts for the work after 6-8 months should be frank with the artist, and if needs be, release them from the 2-3 year contract. This is why I have been suggesting to artists that they negotiate a trial period with an agent as many agents will bind you to them for the entire term, no matter how little they get for you. You might want to ask for some sort of performance clause especially if the agent wants a long initial term. The most realistic way to structure this would be to require the agent to get you x number of agreements in x period of time. It may be difficult to get an agent to agree to this, but it is certainly a bargaining point you can throw out for discussion. Honestly, while there are standard guidelines, there is nothing absolute in licensing. It is whatever two people agree to.

Is it okay to signup with an agent new to licensing? I would definitely give consideration to an agent who may be new to the field because most agents did not start out with years of experience and contacts. I would consider a "new" agent based on their background, history in the field they are coming from, their attitude, business sense, organizational skills and overall enthusiasm, among other things. I always tell artists in my seminars that I found my first blockbuster artist (Sandi Gore Evans) when I had VERY little rep experience under my belt. She was already being courted by several big time agencies and people when I contacted her, but she agreed to meet. In the course of our conversation, her stated concern was that I was "too sophisticated" to appreciate her art (country/folk). We kept talking and found we had a mutual love for Lyle Lovett (among other things) so she signed with me. After I had worked with her awhile, I came to see that the REAL reason she hired me was because she wanted to be a BIG fish in a small pond, and she wanted one more kid to push round (she had four grown children, I was her fifth). I was full of enthusiasm and big dreams when we met, those qualities were what she was looking for. I will be eternally grateful for her vision, her trust and her confidence in what I was to become. Thru her, I cut my teeth in licensing.

Should I choose an agent that represents well known artists? The suggestion to look at which artists are known and who are their agents is a good one, but not fool proof. They may do really well for certain artists, but maybe you go with that person or group (who do very well for a well known) artist(s) and then they bomb for your work. What you would want to be concerned with is that the agent would spend a greater % of their time working the "known" artist, and your work may not get much attention. You would really need to interview them closely to make sure that concern does not become a reality if you sign with that agent. If any agent takes you on and works your library and then has little success, does that make them a bad agent/agency? Not necessarily, because they may not be right for YOUR look. As far as known artists versus unknown artists, there are MANY lesser known artists out there who are HUGELY successful in licensing but their names are known only to the buyers and their customers (where it really counts) but the artist may not be well known in some of the art circles. Getting a "name" in licensing is some what secondary to me as opposed to making good money. I have seen it happen many times where you make good money first, and in the process your name gets more and more out there (by virtue of it being on every single product it is licensed to) until you find you ARE well known.

What should I ask an agent? Having given many seminars on this subject, there are quite a few questions to ask a potential agent.

1. How long have they been in business and how did they come to do this line of work? What is their agenting philosophy? This one question may hold all the keys you need to this relationship.

2. Who do they represent?

3. What companies/categories are the artists licensed to? Do they specialize in certain categories? What ones are they not licensed into?

4. How many artists are in their group?

5. How long have they represented these artists?

6. How many other reps do they work with (or who work for them) and how are the artists divided (which rep gets who)?

7. Ask to see their contract, both Artist/Agent and Licensor/Licensee. Have an attorney ( or another agent you trust who knows contracts) advise you as to what the contract really says as to what you are legally committing to. This is worth EVERY PENNEY they charge.

8. What is their money/ percentage split?

9. Who pays for what? What creative services do they offer and what is the charge for these? How will they represent you?

10. Do they exhibit at any shows? Do they walk any shows? Which ones?

11. Do they personally call on the individual manufacturers? Name a few and how often do they do one- on-one?

12. Ask them for referrals - both from the artists as well as the manufacturers. AND CALL EACH ONE OF THEM!!!! Get artists' phone #'s they rep (more than 1 or 2) AND get manufacturers names and numbers who they work with. When you call the manufacturer, in addition to the questions you will ask about your potential agent. Be sure to ask them if they work with any other agents and what they think of them and how thy work. These referrals/references are probably going to come from word of mouth as an individual is vulnerable to getting a lawsuit for slander if they put their real opinion in print.

Trust your guts on this decision. If you don't have warm, fuzzy Hallmark feelings about that agent, walk away from the deal.