A Site for Emerging Artists
Posts tagged Greeting cards
Choose the Right Printer for Your Greeting Card Line
Feb 24th
By Carolyn Edlund
Nancy, a reader who is starting her own greeting card line, recently asked the following question, “Do you simply find a printer with the capabilities to do what you want at a reasonable (competitive) price, or are there certain types of printers that are best for greeting card production?” She also wanted to know about how to evaluate the quality of printing.
After receiving that question, I emailed Hok Yeung who works at Persimmon Press in California. Persimmon is a popular alternative humor card line with photographic images. His response:
“Our cards are very simple to print – just four-color and a varnish on the
Courtesy Persimmon Press
outside, black and white on the inside. Many printers can do our work. However, if the card is more complicated, like having die-cut, foil, glitter and embossed features or requires some fancy paper stock, the printer should be experienced in that field. This means they should have the equipment to finish the card. Printers who outsource finishing to others may be more expensive.”
He continued, “I would ask printers for samples of the work they’ve done for other greeting card companies, and get quotes from multiple printers . . . finding a reliable printer who can get the job done on time for a reasonable price is more important than getting the lowest price or getting the specialist print shop
Courtesy Persimmon Press
who charges two or three times more than the next cheapest printer, I believe. One last observation – many artists want to print their artwork on greeting cards for sale – however, most buyers still prefer traditional greeting cards like Hallmark or Persimmon because they are using it to communicate with the card recipient. Therefore, I believe the writing in the card is probably more important than the design.”
Next, I checked in with Kate Harper, an artist, blogger and expert on greeting cards, and sent along Hok’s comments. She agreed, adding, “The printer is a critical person. Most any printer can print cards. Get one who pays people to watch the press. Some printers just turn on the press and walk away, and don’t see when the ink is getting thin or a hair landed on the plate. In general, printers who only pay staff minimum wage are going to be a higher risk for problems later on. I call those the ‘quick and dirty’ printers . . . make sure the printer will replace their mistakes. Ask up front what you can expect and where the measurable boundaries are – so everyone is on the same page as to what an ‘error’ is.”
Kate commented about text in greeting cards as well, saying “No text is
Kate Harper
better than bad text. I interviewed Margrit Schurman (from Papyrus) once and she said the biggest mistake is destroying a good card design by using bad text.”
What are your experiences? Have you found a great printer, or been disappointed? What did your learn? And, what is your opinion on the importance of the text, or greeting, inside your cards?
Check out www.persimmoncards.com for their greeting card selection. Industry insider tips and articles can be found at www.kateharperblog.blogspot.com.
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Searching for Fresh Talent/Interview with Brush Dance President Christine Witt
Jan 13th
By Carolyn Edlund
Artsy Shark loves Brush Dance and the incredible art of this joyful line. President Christine Witt spoke with us recently, detailing how she finds and selects the talented artists who design for them. Visit their web site – they are looking for artists now!
AS: Christine, how do you go about finding artists you may want to use for your Brush Dance products?
CW: Two basic ways. First, artists find us. We regularly receive submissions from artists who have seen our products and feel that their work fits well with what we are doing. Increasingly, though, artists are finding us through Facebook and Twitter. At least a few times a week, I get questions about how to submit art.
Second, we search for artists. Etsy and independent artist websites have been terrific resources for us, but we also keep an eye on design blogs and a variety of magazines and other publications.
AS: You do not generally go to trade shows. Why not? What are you finding, or not finding at trade shows?
CW: My feeling has been that artists exhibiting at trade shows are generally a bit more established – their works have been seen out in the marketplace. (This is probably because it’s so darned expensive to exhibit at trade shows that only more established artists are able to afford to exhibit). At Brush Dance, we have always strived to feature art that has not been seen. We are looking for original themes and ideas.
Having said this, however, I was once approached by an art licensing firm at a trade show. The owner told me he had the perfect art for us. He was right and the line is one of our better selling lines.
I’m willing to be wrong.
AS: Talk about your focus and your themes at Brush Dance. What is the “look” you are seeking? What makes one artist’s work stand out and speak to you?
CW: This is a very difficult question to answer! We don’t always know exactly what we’re looking for– but we know when we find it.
Generally speaking, we like art with lots of details. Give us (and our customers) something new to see each time we look at the image. Make us wonder how a piece was created. What was the inspiration? Surprise us in a pleasant way.
AS: Many artists state that their work comes from personal inspiration. In the business world, we have to produce merchandise that customers will want to purchase. How do you guide your artists to produce work which will have appeal in the marketplace?
CW: Most of the artists we work with are not production artists. They started creating their art because they had to. These artists have a calling that is deep within their hearts and to not answer that calling was impossible for them. Talking with an artist about changing a color or even cropping (!!) their art can be a sensitive topic. Once the idea is gently introduced, though, most artists are open to most changes. It is important to us that it be a conversation, a collaboration, between us and the artist.
AS: Talk about your customers. Your line sends a positive, loving and very affirming message. Who is looking for this?
CW: One of the reasons we sell into such a variety of stores (from huge retailers such as Barnes & Noble to small specialty stores) is the universal appeal of our products. People are looking for encouragement, hopefulness, joy, and intimacy in their everyday moments.
Even though our biggest orders, of course, come from those huge retailers, I have to say that I most enjoy seeing the orders from our website customers. Connecting with the woman who will be writing in the Journal or sending the Greeting Card – it really is very special to me. Even though I never talk with most customers, I see each order as it comes in. I know by looking at one order that a woman in Iowa is up late and that she finds a certain comfort in butterflies. Another woman from California is having her order of ten calendars and date books shipped to her work address – I love to imagine them brightening offices or cubicles.
AS: The Brush Dance product line includes many greeting cards. Are any of your artists providing wording for those cards? If you are using their images and choosing wording for cards, what are your sources and inspiration?
CW: Some of the artists we work with also write. Other artists will include quotes with their work or make suggestions for quotes.
For most, though, we choose the words that go with the art. We have searched through literally hundreds of books looking for quotes and words of wisdom. The magical part is finding the right words for the right piece of art.
AS: What would you advise emerging artists to do to get connected with buyers such as your company, for submitting their work?
CW: There are three things:
- Be easy to find. If you don’t have your own website, join Etsy. (Even if you have your own website, join Etsy.) Get social with Twitter and Facebook . Start a blog, make connections, get your name out there. Talk with people – lots of people.
- Develop a portfolio/presentation. The best portfolios include at least 12 pieces of art and something about the artist. We’re interested in you, your story, and your art. Tell us why you think you’re a good fit for Brush Dance. Spend a serious amount of time on your portfolio so we know that you’re serious about your profession.
- Follow Up. Make sure we received your submission if you don’t hear from us. If your art has changed substantially since your last submission, feel free to resubmit.
Each of these items has the same basic theme – make some noise. As an independent artist, you’re going to have to be comfortable tooting your own horn in order to get the attention (and licensing deals) you deserve.
AS: From your Facebook page, and comments by fans, it easy to see that you have a relationship with your customers that goes beyond being buyers. Was this by design? How did you go about making these connections? Why is this important for your business?
CW: Absolutely by design. I wanted us to know our customers. Not to just have a feeling for who they are and what they are interested in, but to really and truly know them. Facebook, Twitter, and blogging have all made this easier for us. Much like the artists we work with need to create, I need to be in touch with our customers. I need to hear their stories.
Christine Witt
AS: You look at many artists, and their portfolios. What in your opinion are the biggest mistakes an artist can make when presenting their work for consideration?
CW: Easy answer! The biggest mistake artists make is not making the presentation easy for us.
If you have website, it must be easy to navigate. If you’re sending a link, make sure everything you want me to see is right there – or clearly labeled. If you find that you have to send along instructions to your website, it’s time for a redesign.
We get so many submissions and our time is limited. Make it easy for us to see your work and you have a much better chance of your work being seen.
AS: Brush Dance has had some long relationships with artists who design for your line. Can you discuss this?
CW: Relationship building is important to us – corporate buyers, retail customers, vendors, and artists. In fact, some of the artists we work with have been with Brush Dance longer than any of our employees. It is really is our honor to work with so many talented souls year after year.
AS: This past year has been difficult for many businesses, and yet Brush Dance is doing quite well. Can you give your thoughts on how you have created this abundance and what your plans are for the future?
CW: Year after year, Brush Dance’s success can be attributed to the same thing – we have a terrific team of people (employees, artists, vendors, and more) completely dedicated to our success. When everyone is working in unison to create high-quality products, at a price people can afford, success follows.
In 2010, we will continue to grow our line – we’re adding new Calendar, Journal, and Magnet styles this year. More importantly, though, we will continue our focus on customers – on connecting with the people who are using our products.
Christine Witt writes a blog for Brush Dance which gives more insight into the company and the spirit behind it.
How Passion for a Cause Led to Success/Interview with Melissa Cook
Jan 11th
By Carolyn Edlund
Artsy Shark connected with the owners of Scene East, a company partnering with nonprofit organizations to promote their photography while raising funds and awareness for worth causes. Here is their story . . .
Melissa Cook started card company Scene East over a Saturday breakfast brainstorming session with her husband Bob in their favorite local restaurant. Looking for a way to sell prints to promote Bob’s photo safari business, she wondered if they could make a profit while giving something back to their favorite causes in Africa. The manager of a local bookstore told them that “prints don’t sell here, but greeting cards do” – and a business idea was born.
While traveling to Rwanda with Women for Women International, Melissa approached the group to suggest that she would shoot photos in Rwanda to make cards for them, and sell the cards to raise money. This began what they hope will be a long and very productive relationship and a model for other partnerships.
Bob Demchuk, Melissa’s husband, has over 35 years experience running Scene East as a film production company and Melissa has worked in the finance field for 25 years. She focuses on marketing and developing new partnerships with nonprofits and potential distributors. LinkedIn, Facebook and personal networking are important tools in making those connections.
Melissa states, “In our travels of the past several years, we’ve grown even more passionate about our interest in supporting wildlife conservation, education, health and women’s causes—with an emphasis on developing countries. When you see what it looks like to live on less than $1 per day, it changes your perspective and makes you realize how far your dollar can go to transform lives. We’re committed to doing something much more than just writing checks.”
AS: How do you approach nonprofits with your line of cards to get their sponsorship and partner with them?
MC: We start with groups we already know and support, or organizations we’ve seen in action in our travels. We focus on groups whose mission resonates with us, and where the nonprofit’s goals are consistent with ours. From there, it’s simple:
- We highlight Scene East’s ability to create a beautiful, high-quality product that will represent the group to its best advantage. We outline our capabilities in manufacturing, marketing, distribution and fulfillment. We developed a highly professional proposal and operating process which allows us to identify the group’s needs and outlines how Scene East can help them meet their goals. This gives the development staff confidence that Scene East will deliver on its promises.
- We ask the nonprofit to do as much as possible in terms of marketing the cards to its supporters—through their normal communication channels.
- We outline a revenue sharing deal with the group—and the cards help in their grassroots marketing efforts.
AS: We all learn from mistakes, and every business person makes them. Can you share your thoughts on pitfalls to avoid?
MC: Don’t spend money on marketing and promotion until your product line is fully fleshed out and complete. You only get one chance to make a first impression with a retailer, so start with friendly local distributors who will give you an honest assessment of your line’s strengths and weaknesses. Don’t be in a rush to go national.
Think about your pricing strategy! We were careful to price our products competitively—after an exhaustive study of price lists for many card companies we saw at the National Stationery Show last spring. But in this economy, you have to have something extra-special to get through to retailers and consumers.
Melissa Cook
AS: Any tips for beginners who would like to start their own greeting card business?
MC: Be prepared to take the long view! You will have some early successes and will find support if you have a great product—but costs are always higher and revenues slower to come in than you expect. (Yes, they taught me this in my business school, now I believe it.)
Don’t be intimidated by the large number of strong competitors in this business—there’s always room for someone with a truly differentiated idea and product line.
Understand your own goals and the economics of your particular business. Are you doing this to pay the mortgage and so you can quit your day job? Or are you just looking to take advantage of your artistic talent and make a few bucks on the side? Yes, it really is worth sitting down with an Excel spreadsheet and running a proper business model to make sure you know what you are getting into.
Visit Melissa’s blog for more information on the charities Scene East supports.
What You Didn’t Know About Starting a Greeting Card Line (Part 3)
Jan 1st
By Carolyn Edlund
More insider perspective, this time on Marketing and Sales
- How should you price your cards? This depends on your costs, and the profit you desire. The average card on the market runs about $2.50 retail. You will be paid the wholesale price (1/2 of retail) so a pack of six cards would sell for $7.50. Cards with special details, such as glitter, rhinestones, special folds, etc. sell for more. Quite often these specialty cards are wrapped in cellophane to protect them. Meri Meri has a beautiful line which is expensive but sells well. Don’t underprice your cards hoping for better sales – it won’t work in the long run, and you devalue your work and cut your profits.
- What about minimums? That’s up to you. Remember, you are not “consigning” your cards – they are sold outright and you get a check or credit card number from the store buyer. If you want to set a minimum of $100, that’s fine. You want to have a good enough assortment of your cards in the store. However, I have seen companies use a “no minimum” policy – and if the buyer wants it, they almost always write a good sized order anyway.
- What about returns? The reality of the card business is that you must accept returns to make more sales. A 10% return allowance is very fair. This means you will allow the return in exchange for different (and better selling) merchandise within a repeat order, not a refund.
- Should you have sales reps selling your line? My opinion on this is Yes! Most importantly, hire really good reps. I’ve been on both sides (as a production artist and as a rep myself), and can tell you that a bad rep is useless and a good rep is a goldmine. Why? Reps have established relationships with their wholesale accounts, can really showcase your line, get your product great placement in a store, and bring you long-term profitable accounts. Most busy, successful store owners will rarely see a lone artist who walks in to sell them one card line. But they know and trust their regular reps whose multiple lines they buy. Savvy reps have heavy influence on buyers and can get you business you could never get for yourself.
- Where do you find a sales rep? Get familiar with trade journals like Giftware News. You could list an ad for a rep at Great Rep or Rep Source , visit a trade show like the Stationery Show, advertise for a rep on your website or speak with other vendors in your market. Reps often work in groups, and sell complimentary lines.
- Treat your reps well. Sales reps work on straight commission. Standard commission on card lines is 20%. That might sound like a lot, but they have lots of expenses, and a successful rep is well worth the money. Plus, by using reps you can sell all over the country, and that’s a lot of potential business!
- What about niche markets? You might have a line that appeals to a certain group. One example is Sandi Timberlake’s card line called A Little to the Left which is designed for a gay audience. We talked about her marketing, and I suggested that she partner with other vendors who are selling wholesale to stores that cater to the gay community. You may share a rep who calls on this niche market and can cross-sell many lines into a store looking for a certain type of merchandise.
- Should you exhibit at a trade show? They can be very pricey, and to justify exhibiting at a show you need an extensive product line (or partner up with someone selling a complimentary line to your target market). Trade show attendance has fallen off in recent years. A website would showcase your card line less expensively while being accessible 24/7. If you can afford to do trade shows, you can meet tons of prospects and buyers for huge accounts and chains stores too.
- Why shouldn’t you just use CafePress or Zazzle to print your cards? These online “Print on Demand” vendors have an ingenious business model, and they create printed merchandise one-at-a-time. If as an artist you prefer to focus on your studio work and offer your designs on cards, mugs or t-shirts as a sideline, you may want to use them. However, if you want to get into the greeting card business, and pursue it full time, it is much more cost-effective to use a commercial printer. You will find that the cost to you for each card and envelope will be literally pennies whereas Zazzle, for example, charges artists $1.49 per card. Although they have a place in the market, they would be a very expensive middle man.
- What other alternatives are there? You could sell your art to a greeting card company, via a licensing agreement. The card company will take care of writing the greetings, production, marketing, and sales of the merchandise. I have an interview coming up with some of these buyers, so check back on this site to get details on what they buy, and the type of art they are seeking.
What You Didn’t Know About Starting a Greeting Card Line (Part 2)
Dec 31st
By Carolyn Edlund
Part 1 of this series gave some basics for artists who want to start a greeting card line. Part 2 continues with more information about your line, and Part 3 will concern sales and marketing.
- How big of a line do you need? You need to create a cohesive body of work as a “collection” to attract attention and make more sales. Store owners have card displays which are often spinner racks, and you will want to have a rack devoted to your line, or a good presence on their existing displays. The minimum number of pockets on a standing card rack is 24. That is small for a line, but you must have at least this many designs. I suggest you create at least 48 cards to choose from, in proportionately the right categories (see Part 1 of this series).
- You can have what is called a “pre-select”. Many retailers don’t have time to pick individual cards, but will try a line if they find it appealing. You choose your bestsellers, in balanced categories (birthday, get well, etc.) to offer as a package deal. Having a display or rack that comes with it is a definite plus, but you should offer the starter package with and without a display. Check out Snafu to see a card line that offers bestseller packages.
- Where do you find display racks? Check online for display manufacturers, such as Displays2Go or Display Warehouse and find some different sized display racks you want to offer. Racks come in wire and also plastic, in a wide range of prices (wire is the cheapest). You can charge your customer for a rack in your package price, (passing on the wholesale cost without markup is pretty standard), or you can offer a free rack as an incentive. Racks should be drop-shipped to the customer from the manufacturer.
- What size should your cards be? The standard size for a greeting card is 5”x7”. I suggest using this size format for two reasons: first, they will fit nicely into standard pockets on existing card racks. Secondly, you can pop the 5”x7” card of your artwork right into a standard 8”x10” mat and frame it, thus making it into framed art for sale! Pretty cool, huh?
- What size should your cards NOT be? In general, stay away from square cards and oversized cards. Although companies like Quotables have done well with squares, the post office charges extra postage for them as they are not machinable. Oversized cards are extra postage, too. Keep in mind that 60% of greeting cards purchased are mailed. And that paying extra to mail a card is very, very annoying.
- Indicator Cards. Also called “Caption Cards”, these are single pieces of cardstock which sit behind the cards in each pocket and are about ½” higher. They say “BIRTHDAY” or “BLANK”, etc to show the sentiment of the title in that pocket. The Indicator can show the sentiment either above the cards, or can be folded twice to sit below the cards in a clear plastic or wire pocket. Go to a card store and see how these work. These are essential to have, and proper indicators must be included with every pack of six cards and envelopes that you ship. Cards sitting in display pockets without indicators do not sell. This is the kiss of death for sales, so I can’t stress it enough.
- Define your market. Who are your customers? Baby Boomers? Students? Men? Christians? Actually, 80% of cards are purchased by women, and the largest group of card-buying women is middle-aged. Decide who you are trying to reach, and create a line for them. You can’t be everything to everybody.
- You are not Hallmark. They have a vast number of products, lines and titles. They can afford to have a card saying “To My Sister-in-Law on the Death of Her Pet”, even though a sentiment like this would have a very small market. Stick to the basics. There are categories which are slow, and I would suggest avoiding in your line, such as: Retirement, Good Luck, I’m Sorry, Pet Sympathy, Graduation, Baby Shower, Engagement, Divorce, New Home, and birthday cards to a relative such as Husband, Son, Niece, etc.
Part 3 of this series will address sales and marketing for the greeting card market, and more insider secrets!
Featured Artist Julia Hacker
