The Source finds out how the relationship with its artists is at the heart of Bright Art Licensing’s success.
A modern, forward-thinking agency, Bright Art Licensing is a dedicated division of Bright Group International and is a market leader across both the UK and US art licensing markets.
Bright Group International also comprises a literary agency, a children’s illustration agency and an advertising/branding agency and is well-known for pushing creative boundaries; not least with its most recent project, the art gallery, design studio and retail outlet The Bright Emporium, which launched last year to great acclaim.
“Working across so many different sectors means that we are able to cast our net much wider and offer both artists and licensees a whole new set of options,” Hannah Curtis, senior art licensing agent, explains.
“Artists know that because of all the different areas we touch, we can ensure their portfolio has more visibility than standard art licensing agencies. Equally, licensees know we can give them access to artists from other specialities who might be a great fit for their brief.”
With 200 talented illustrators and designers already on its books, Bright Art Licensing normally takes on around ten artists each year, but is on track to exceed that for 2016.
“It’s already been a very successful year for us,” says Hannah. “We have some great new names on board and we’re really excited about what they’ll be bringing to Bright, as well as what we can do for them.”
This is where the secret to Bright’s success really lies; in ensuring that it makes the most of the myriad of talents and styles its artists have to offer. “We take our artists’ needs very seriously,” Hannah continues. “They are the single most important thing about Bright Art Licensing, and we make sure that they know that!”
Hannah recommends that artists looking for a licensing agency choose carefully. “It’s like entering into any relationship,” she explains, “it has to work for both of you and certain needs have to be met. Key things to look for include how your work fits with the existing portfolio, how the contract is set out and how happy the other artists are.”
Art licensing agencies can be as varied and different as the individuals they represent, and Hannah emphasises the importance of making sure they are the right fit. Artists need to bear in mind where they ultimately want to go with their work, and how the agency would be able to help them achieve that.
“We always meet with new artists before we begin working with them,” Hannah continues. “We’ll show them the gallery space, talk to them about their needs and what they want from their future career path. It’s absolutely crucial that they know us and trust us to look after their livelihood.”
Artists should also be assured that their portfolio will stand apart from anything else within the agency. “We need to offer different options to what we already have,” explains Hannah, “otherwise we’re competing against ourselves. Having said that, the artists’ style and designs need to fit with our overall client base so that we know we can find them work. But each person needs to stand out as an individual; that’s so important, for us and for them.”
If everything else has gone according to plan then the next logical stage is to look at the contract being offered. Bright Art Licensing uses an AOI-approved contract, and Hannah recommends that artists refrain from signing contracts which haven’t met these standards (Bright md Vicki Willden-Lebrecht is on the board).
“We strive for fairness for artists, both within Bright and within the AOI, and firmly believe that artists should own the IP and copyright of everything that they create.”
Not seeing artists as a commodity means that the Bright team works closely with them to develop their individual style, making sure their work is commercially viable.
“We are constantly feeding artists colour themes, mood boards and other ideas to keep things as fresh as possible,” says Hannah. “So their work is always moving forward and keeping track with current trends and fashions.”
Licensees will also send in briefs and wish lists, which Bright passes on to the artists, who are then free to pitch as they desire. “It’s entirely up to the artist,” Hannah explains, “which means that they can be as proactive as they like!”
Three years ago, Bright Art Licensing launched illustrator Lindsay Sagar’s portfolio at London-based trade show PG Live. At the time, Lindsey had just begun her freelance career and was primarily working in the greeting card market – now she has a children’s books range (with Igloo Books), which is on sale at supermarkets across the UK.
“We had a constant dialogue with Lindsey,” explains Hannah, “and have been helping her develop her work to make it more desirable in the marketplace. By helping to focus the artists’ attention and talent we make sure that their work is more likely to find success.”
One of Bright’s newest signings is Ian Gillibrand. Despite only joining Bright in April, his latest collection has already had an excellent response, with card publisher Noel Tatt snapping up four designs the same day they were launched to trade.
“Ian’s work was excellent but very traditional,” said Hannah, “so we worked on making it more exciting and contemporary. It’s still very much his work, with a little injection of freshness and some commercial input. We’re delighted with the result!”
The final key to Bright’s success is the importance it places on attending trade shows, with PG Live, Spring Fair and Surtex proving invaluable in giving an overview of the market.
“Staying in contact with our clients and the wider industry is essential,” says Hannah. “We can then feed back to our artists and help them understand what the market is looking for. It all goes full circle!”
This feature originally appeared in the Summer 2016 edition of Art & Design Licensing Source Book. Click here to read the full publication.
