A Site for Emerging Artists
Interviews
Thinking Big and Taking Action/Interview with Lesley Riley
Jan 22nd
What’s the secret to an artist’s success? The right mindset and a lot of hard work. Let’s get started . . .
Lesley Riley is an internationally known artist, teacher and author with a passion for spreading the magic of art. While she likes to make things, she now devotes her time to making things happen for other artists through her company, Artist Success. Lesley provides resources, creativity management, coaching and mentoring to artists, enabling them to achieve their vision of success.
AS: Lesley, you oftentimes work with client on their mindset and thinking about the bigger picture of what they can achieve. What does that mean?
LR: Any artist can have the kind of success they dream of, but so many believe that it is an impossibility or out of their reach. That’s called thinking small and is a result of self-limiting beliefs. What holds many artists back is acting small. Taking the actions that propel you towards your dreams are often difficult and scary and the process seems overwhelming. There are so many things that hold your back – confidence, courage, know-how, commitment and self-worth. I help artists see what’s possible and then we work to break it down into doable steps.
AS: What do you find that artists struggle with most in stretching themselves to grow their businesses?
LR: Discipline. If you don’t treat making your art as a job, then it becomes your hobby. You cannot expect to make a living or grow your business with a hobby mindset.
Having a successful career as an artist is no different than working 9-5 at McDonalds or a desk job. You show up and work in order to keep your job so you will get paid. Being disciplined sounds counter-intuitive to creativity, imagination and artistic endeavors, but it really is the key to creating the success you desire. Show up in the studio on a regular and consistent basis.
To make success happen, you need a plan, a marketing plan. And then you need to take consistent action on that plan. Lack of time is not an excuse. Small blocks of time add up to success. I know. I built my art career with 5 children at home and an almost full-time job.
AS: Galleries are closing and the market is getting tougher out there. What recommendations do you have for artists who want to increase their income?
LR: My recommendations:
- Sell smaller works on Etsy
- Teach an online class or one 1-day workshops
- Barter for services
- Create affordable table art: paint or mount work on 5 x 5 or 8 x 8 gallery wrap canvases
- Sell a small ‘artwork of the month’ subscription series of your work
- Add a Pinterest link to the art on your site so others can publicize it for you
- Figure out your unique factor and build your brand around it. Then market it.
AS: Please tell us about your speaking engagements and your workshops.
LR: I speak to groups and teach 1 and 3-day workshops based on my Artist Success Action Plan (ASAP). If you haven’t realized it by now, taking action is the key to success. Just as I do with my private coaching clients, I break down the necessary steps into accessible and doable actions, add in the mindset and guide artists towards achieving their personal vision of success.
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A Day in the Life of an Artist’s Agent
Jan 14th
By Carolyn Edlund
LeJarie Noguchi works with Artas1, a licensing agency for Japanese artists. She spoke with Artsy Shark recently about her job, the challenges she faces and what’s hot in the business.
AS: How many artists do you represent?
LN: I represent over 40 Japanese artists. Most live in Japan, but a few are in the United States.
AS: What is your process for reaching prospective clients for your artists?
LN: I use a combination of cold calling and email submissions. I submit artwork after reviewing the guidelines on the company’s website. If there aren’t any details, I’ll either call or contact customer service for contact information, for their licensing director if available. I then email them directly or call based on the contact information given.
Generally, I submit four image samples initially as a PDF with simple artist’s bios. If there is a request for more images, I’ll follow up with larger jpgs depending on the specifics of the request via zip files. We also mail out free copies of our latest catalogs upon request, which helps to give the client a good overview of the artists we represent.
AS: What is your follow up procedure?
LN: I usually follow up with an email three to five days later and only occasionally with a phone call. From my experience, I find I email usually, and calling is mostly done with smaller companies and small book publishers for book cover art. I email follow ups mostly for larger established companies like in decor or print publishers.
Artist: Hiromitsu Yokota
AS: Are there any trends you are noticing as far as what companies want to license?
LN: There is a popular trend right now toward cute and small Japanese types of items like dolls, stickers and erasers spurred on by the huge popularity among kids for Japanese erasers that come in fun shapes like sushi, cupcakes, hamburgers . . . you name it and there is a cute eraser for it. So there are some companies looking for cute bright art similar to anime.
AS: What are you working on now?
LN: Currently, the artwork of two of our popular Japanese artists is on exhibition at UMAMI Burger’s new restaurant location in Hermosa Beach, California. Also, two of our artists create amazing artwork for calendars, so I’m contacting calendar and stationery publishers. One of our artists has created the sweetest children’s book about an octopus that I’m actively submitting to publishers.
AS: What is your biggest challenge?
LN: Time zones. Being based in Los Angeles with the majority of licensing companies based on the East Coast is a big challenge when trying to contact and follow up.
Interview with Greeting Card Designer Kate Harper
Oct 9th
Kate Harper
Kate Harper is a well-known greeting card designer, with lots of experience and a wonderful blog for card entrepreneurs. She speaks about how her business developed and what she sees next for the industry.
AS: Kate, you made a major adjustment to your greeting card line when working with a helpful sales rep. What happened and what did you learn?
KH: I’ve been through several adjustments, but in the beginning one rep recommended I make my cards brighter colors and to think about what the message communicates when you look at the picture, even before you read the words. Reps also gave me feedback from the stores such as “people don’t get this joke” or “no one likes that card because it’s green” or “even though the sentiment is true, it’s depressing.”
AS: Could you talk a little about how transitioning from making your own handmade cards to licensing has changed your business and your life.
KH: It was a difficult decision to leave manufacturing because I had several people who depended on me for an income, but my business was growing to the point that I would have to relocate the studio and hire more staff and I really didn’t want to do that. For me, it was a lifestyle choice.
For fifteen years I ran a full time card publishing business, servicing thousands of stores and worked with over 100 sales reps. I felt lucky and blessed to be able to create designs and sell them and make a living from it, but I also found my life revolved more and more around packing and shipping cards, and very little to do with art.
Then I took a class with Cheryl Phelps on Art Licensing and my mouth fell open and it has been open ever since. I never realized art licensing even existed.
Life is completely different now, since I can do art full time and I have a lot more free time. I know some people say getting into art licensing is difficult, but I didn’t experience it that way. Perhaps because when I approach a company I bring a lot more to the table than just art skills. I bring 2,000 of my former accounts, sales statistics from my business and a background in the gift industry. I also understand what is involved in manufacturing a product, so it’s easy for me to put myself in the shoes of another company when they come up against challenges or misprint something. I try not to be too picky, because I know how incredibly difficult it is to match colors and make affordable products.
AS: Saleability is key to having a successful card line. What do you consider the most important factors in making a line saleable?
KH: The measuring stick I always use when evaluating my own cards is “Would I pull money out of my wallet right now and buy this card?” I also visualize a friend and imagine receiving or sending this card to her and asking myself: “How does this feel to send to her? Is it too weird? Is it condescending or unintentionally insulting?” Also, my silent motto to myself is “If you can make people laugh, you’ve already sold your product.”
I do abide with the greeting card standards that the image is the most important, because it causes the customer to pick up the card on the rack. Therefore you’ve got to have a strong image that evokes an emotional response.
AS: What do you see as the biggest challenge for greeting card entrepreneurs today?
KH: The card industry is suffering, no one can deny that. But I also have been working with companies who are redefining the meaning of what a greeting card is, such as Fiddler’s Elbow. I recently worked with them to develop a line of “Card Towels” – towels than can be sent as greeting cards.
I also am working with a second company on a similar concept (but different product) where the traditional me-to-you relationship is being adapted to a gift item in place of a greeting card. I see a strong future in the explosion of apps and ebooks and redefining what a greeting card is, in those contexts.
For example, on my own, I’ve been working on some concepts for Greeting Cards for the Kindle, I call “Kindle Cards.” My idea is to develop cards that can be sent to a friend’s Kindle, which is a completely different (and more positive) experience than receiving an e-card in an email. If you use a Kindle, you’ll understand why.
The good news, from my observation, is that the Handmade and alternative card business is doing OK and I’ve had a rep confirm this recently. I also have a friend whose $6.00 greeting cards keep selling out in a local store.
This year, when I went to the San Francisco Renegade Crafts Fair, people were standing in line to buy funky cards and gifts. This tells me that people still love to touch and send things. We just need to meet them in the places they want to be. That’s why I think trade shows should redefine what they are also.
A greeting card sales rep I know here locally whom I worked with for over a decade has a great idea for moving gift shows into a new generation, which is to change them to a format like the Renegade fair.
If you allow designers in at more affordable prices, in a funkier, unsterile modern setting, you are going to attract more interesting vendors, products, younger buyers and more buyers overall. Also, if you have this type of show in a variety of metro areas, they can start to reflect individual design styles from different parts of the country.
How to Succeed in the Changing Marketplace
Oct 1st
Do you need sales reps? Or a new strategy? An interview with Meryl Hooker, internationally recognized writer, speaker and consultant. With nearly 25 years in sales, she brings real life experience, skill and expertise to sales warriors and companies alike.
AS: What do you see as the biggest problem small entrepreneurs have in getting sales representation?
MH: The single biggest challenge facing new and young greeting card and gift companies today is the shortage of available competent sales reps. Period. At least that’s what they think their problem is. In reality, there is a whole lot they can and should be doing to get the attention of sales reps.
Sales reps chase money. And when a company builds a sellable line that retailers are interested in, the right reps will come.
AS: When reps look for lines, what is the most attractive thing to them?
MH: I advise my clients (who are sales reps) that you need lines which fit in with your customer base and the other lines that you represent. For example, I carved a niche for myself in the weird humor market. If someone called me with a line that featured fairies and angels, it didn’t matter how good the line was – it didn’t make sense for my business, or the stores I called on.
You must also have a line that is adequately developed. For example, if you have a greeting card line, you need a minimum of 36-48 cards, enough to fill a rack. If you have seven cards, you don’t have a greeting card company, you have an art collection.
Reps are not in the business of helping you develop your company. They are in the business of selling product to retail stores. As a manufacturer, card or gift company, it’s your responsibility to make sure that there is something to sell.
AS: Would you recommend that someone with a gift line search for companies producing compatible lines, and approach their reps?
MH: Five years ago, I would have said yes. But the reality is that the landscape has shrunken considerably. The new economic landscape has killed a lot of retailers, and a lot of manufacturers. I believe the customer gets the final vote, and reps are going to pick up lines they can sell. If you are serious about growing a sales rep force, you go for the most appropriate people and let them worry about the competition.
AS: How do you see reps changing their approach to making sales to their retailers?
MH: The biggest frustration that I hear from the sales reps that I mentor, is that the old strategies aren’t working anymore. I will go on record as saying that anybody who is still making cold calls is wasting their time. There are so many new tools available that the cold call is an antiquated way to sell in the gift industry at this level.
AS: Are reps more engaged in social media, getting online with Facebook and communicating in different ways, such as Skype,etc? Do you see them using more innovative ways to sell?
MH: People who are being successful, yes. The problem is that the majority of reps are still on AOL. They don’t use social media or have web pages. Have you ever tried to Google a rep? They’re not on there, nor are they taking advantage of tools that actually make the selling process easier. They are still dialing for dollars, mailing catalogs. They are not keeping up with technology. In the end, if that trend continues, I don’t see it going well. People who are embracing it are seeing results.
When I was developing my rep business, customers were sending me orders on Facebook, posting appointment requests on my wall. There are ways sales reps – and greeting card and gift companies more importantly – can position themselves in social media platforms to interact with customers, sharing content that they care about. The conversation is already happening. Are you participating in it?
This does not require you to have sales reps. Post your new designs, or a link to your catalog, to your website. Talk about all the cool stuff you are working on. Provide specials and promotions just for your Facebook customers, with special codes. It’s free. It’s the same principles of selling, but updated. The fact is that there is such a scarcity of competent and effective sales reps right now that the small companies that will survive are the ones that figure out how to sell their line themselves.
It’s the new marketplace. Social media is not going anywhere. When you’ve got companies as diverse as Amazon and Coca Cola, and your corner liquor store, who are all signing up on the same platform, it’s not rocket science to know that it’s worth paying attention to. Facebook may not be the final destination. I hope there is some kid in a dorm room right now inventing something even more amazing
AS: So you feel that companies can be just as effective without sales reps.
MH: Quite frankly, I don’t think a company has any business working with sales reps for the first two years. It’s a disservice to the rep, and to the company. It pretty much takes you two years to figure out what the hell you’re doing.
AS: Would you say the problem reps have in embracing change is due to the average age of typical reps out there?
MH: Absolutely. There are some younger people still carving out a career as a sales rep in this industry. But what I tell businesses that come to me saying “I need a rep”, I respond, “No, you need to learn to sell your line.”
There is unprecedented change going on the industry. Selling is not a dirty word – it’s about doing business with your friends. If you are an artist of any type and asking people for money for your product, you are in sales. It doesn’t matter whether you do one-of-a-kind paintings or whether you have a line of 150 greeting cards. That commercial exchange equals selling. It is so important not to be afraid of that process. It can be intimidating. Rejection is hard.
Understand your market. Don’t go too deep too fast. You may have a terrific first run on your orders, but if nobody reorders, who cares?
AS: That’s true, it’s not about the initial sale. It’s all about repeat orders – that’s where your bread and butter is.
MH: Exactly. But what’s happening right now is a tremendous resistance to anything that is not proven, or anything that is experimental. That is just reality.
AS: Any other thoughts on how small entrepreneurs can become successful in this climate?
MH: Know that you don’t have to do this alone. There are so many resources available, not only through discussion groups on LinkedIn, but also through enlisting the help of industry experts. You can flush $5,000 trying to figure it out on your own, or you can invest a percentage of that working with somebody who can actually cut your learning curve in half and help you start making money sooner. You don’t have to fake it. It behooves you to not do that. Seek out help and ask questions.
Join Meryl for an event on October 10, 2011 at 11:00 a.m. Eastern time. This concentrated teleclass session discusses effective ways to utilize social media to identify, make real connections and build relationships with your active and prospective customers.
Starting Your Career as an Artist/Interview with the Authors
Sep 27th
By Carolyn Edlund
Angie Wojak and Stacy Miller, Courtesy School of Visual Arts
Angie Wojak and Stacy Miller have recently released a new book, Starting Your Career as an Artist, with lots of information for those looking to begin or enhance their art careers.
Wojak is the Career Services Director at Columbia University’s School of the Arts, and formerly was Director of Career Services at Parsons School of Design for over a decade. Miller currently teaches in the photography department at Parsons The New School for Design, and has been the director of research and professional development at the College Art Association.
Artsy Shark interviewed them recently about their expertise and how artists can benefit from their new publication.
AS: One networking strategy you recommend is using your alma mater in your efforts. What suggestions do you have for this?
W&M: Artists often don’t realize it, but universities may offer alumni access to the following:
- Alumni Networks: Many colleges offer graduates access to online databases of fellow alumni. This can be an essential networking tool both for reconnecting with fellow classmates, and also for reaching out to new contacts in a variety of industries.
- Alumni Mixers and free or discounted access to special events: These can be great opportunities for networking and building skills and knowledge about the field.
- Social media connections such as LinkedIn, Facebook, Twitter: Most universities offer these. They are good ways to stay connected with a community -or find a new one related to your art work.
- Volunteer Opportunities: Consider offering to assist with planning, or serve on alumni committees to network while giving back to the community. Offer to be a guest speaker or participate in a panel discussion. It’s an effective way to build your public profile and expand your network.
AS: In your book, you interview over 30 artists and art professionals about their careers. What are some characteristics you notice successful artists have in common?
W&M: While interviewing artists, gallery owners, curators, arts administrators and educators, we noticed patterns emerge for success in the field. All agreed success is ultimately self-determined. The consensus is that to be a successful artist, you must figure out a way to make art, no matter what. Get in the studio everyday, and work on building your own unique community of fellow artists and advocates.
Mentors are critical for success. No one does it on their own. Be fearless about what you want your work to do. Appropriately, there are more different types of communities supporting the artists and more different ways to support your art work than ever before. The trick is to know what you want. The colorful art critic Jerry Saltz reminds all artists to keep it simple. Keep your life simple in order to maximize your output in the studio!
AS: Burnout is an issue that artists sometimes face. What are your ideas for rejuvenating the creative spirit?
W&M: One thing we’d like readers to take from our book is that building community to sustain your work and spirit is the most essential activity, and one that many artists undervalue or totally overlook. This is a sincere, life and art-affirming action that you must do or you run the risk of isolating yourself and burning out.
Surround yourself with a supportive network of mentors, friends, family, and colleagues. Schedule a studio visit, lunch, or coffee meeting at least once a week. Join the community where your goals are and network with that target community in mind. Continuously ask yourself if you are still learning and growing; review whether your life/work is balanced properly.
AS: You suggest that artists looking to sustain their studio practice might consider teaching to supplement their income. Could you address this?
W&M: Teaching can add another important dimension to your work. It can inspire and feed it. Watching students change and grow is a great satisfaction for a professional and it creates community. Here are some good basic questions to ask yourself in order to find out if you should consider a career in teaching:
- Are you someone who likes to work with people?
- Are you comfortable working in an institution that has numerous protocols and often well-defined systems?
- Do you like to lecture, critique and advise? Do you like public speaking?
- Can you take instruction from a superior? Can you take direction easily?
- Can you juggle two hats at once: teaching and your studio work?
- Do you enjoy interacting and exchanging ideas with adults, youth or children?
- Do you enjoy watching people grow and change?
In our book we outline the numerous venues to teach in, the requirements for these positions, and the plusses and minuses that go with them.
AS: What inspired you to write the book?
The impetus for writing the book was our shared experience in serving art and design students’ career development needs. Between us we’ve spent over 20 years teaching and mentoring students and alumni working in the arts. We saw many artists facing the same hurdles: emotional, financial, issues with relationship building, networking, long term planning, getting their mind/body out of the studio, having realistic expectations, and so on.
It is important to understand that making the work is less than half the battle. We found there was little knowledge of the basics of marketing their work themselves and how to build a community to sustain themselves in every way. Artists need to be entrepreneurial and proactive and business-minded rather than turning inward and rejecting the business and social side of their practice. How to balance all these aspects interested us, and we sought to ask professionals in the field what they thought of these issues.
Featured Artist Leah Jay
