Make art? Got talent? Want one of the TOP agents in the world to represent … YOU?

Pre-registration is now open for the 2014 Lilla Rogers Studio Global Talent Search.

Somebody’s going to win. Why not you?

GTS 2013 Final piece by winner Zoe Ingram

Lilla Rogers is one of the top art + illustration agents in the world, representing 38 artists internationally.

She has collectively sold over $100 million worth of products — and when it comes to making your portfolio as commercially viable as possible, she knows exactly what buyers want to see.

She’s always on the lookout for emerging talent, but she only takes on a couple of new artists each year … and this year, it could be you!

GTS 2013 Semi-Final piece by winner Zoe Ingram

The 2014 Global Talent Search offers one artist the chance to be represented by Lilla for TWO YEARS (and secure a host of licensing deals) — an opportunity that WILL change your career forever.

But even if you’re not chosen, just ENTERING the Talent Search is a HUGE deal.

Your work will be reviewed by a panel of leading art directors and industry experts. We’ve had past contestants secure major licensing deals, just by throwing their hat in the ring.

Don’t hold back. Show us what you’ve got!

The 2014 Global Talent Search will run for several weeks through the Summer. Dates, judges and prizes will be revealed when registration opens in June.

Pre-register here to be the first to hear when the Global Talent Search opens for registration in early Summer. You do not want to miss it! PLUS If you jump on the list before Monday 31 March, you will be entered into a draw to win a stack of goodies from Lilla Rogers Studio!

So join the list now, and be sure to tell your friends about it!

DID YOU KNOW… the very best way to prepare for the Global Talent Search is to take Make Art That Sells.

This phenomenal class from the Lilla Rogers Studio School will teach you everything you need to know to sell your art in the ten hottest markets in the world. If you want to make more commercially viable art whilst staying true to yourself, this is for you.

2013 Global Talent Search winner Zoe Ingram credits much of her success to what she learnt in Make Art That Sells (listen to an interview with Zoe here). Class starts on March 31 – so you can squeeze it in before the competition begins.

Take your art career seriously. Sign up for Make Art That Sells now!

12 months ago Zoe Ingram was working as a freelance web designer, earning a living but her ‘heart wasn’t in it’. That was until she took Make Art That Sells, and then entered the Global Talent Search, and everything changed.

Click below listen to an interview between Zoe and MATS/GTS producer Beth Kempton where Zoe shares her experience of the course and competition, It is hard to believe that she was nervous at the outset, unsure of whether her work was ‘good enough’, and never drew in a sketchbook. One year on she has been crowned the GTS winner, signed by Lilla Rogers Studio and in the last six months alone has landed licenses and commissions from a host of prestigious companies including a book deal, a home décor product line, a fabric collection, greeting cards for IKEA, and seven foot tall garden totems!

If you have are on the fence about the Make Art That Sells course, or worried about whether it is worth you entering the Global Talent Search, PLEASE take 20 minutes to listen to this interview and know that it could be you!

Scroll down to see some of Zoe’s lovely sketches and final artwork.

Zoe’s GTS Round 1 entry

Zoe’s GTS Semi-Final entry

Zoe’s GTS Final entry

Are you next? Register for the Global Talent Search here!

It’s Friday so it must be time for Lilla’s popular Q&A column, with questions from the previous class of Make Art That Sells. You can see what a wide variety of topics are covered – and you might even find the answer to that burning question you have been wanting to ask! We will be sharing a host of questions and answers over the next few Fridays so stay tuned!

Q) When you show the adjusting levels of a final jpg, you are obviously editing it out of vector mode. Will that be frowned upon by a client who wants the file in editable vector format? Would you have to go back to the vector file and rematch it to the final adjusted file in Photoshop (which would be difficult to match exactly)?

Lilla: Great question. I adjust levels in class to show the difference in the work. If you work in vector, then work in the colors you want at that time. I tend to find that vector people don’t need adjusting levels in their work as much as Photoshop people who tend to scan in art. Scanning tends to add a dull grey cast.

Q) When submitting designs, is it OK to send out multiple submissions simultaneously? What if two companies end up wanting the same design? Would they not get upset if you send them a submission and later tell them it is unavailable?

Lilla: Yes, it is OK to submit multiple submissions. If you send a newsletter with new work, it’s obvious that you are sending to lots of people. If you send the work in an email, it’s all in how you phrase it. You can follow up and ask if they are interested, and if not, send it to the next person. You can send to a bunch and see who bites first. Should two people bite, you tell the second one that someone is already interested but you can create new work just for them in that style. But to be honest, it’s rare to get two bites right away, so I wouldn’t worry too much about this.

Q) When adding designs to a website, should they be password protected? Don’t some companies prefer to buy artwork that has not been posted publicly?

Lilla: It’s good to have a mix of art that is on your site so you attract interest and then some that is either password protected or you simply have on your computer that you send in an email, or a Dropbox folder link, etc. Apparel markets tend to care more about work not seen, but other markets don’t care as much. And don’t forget that a lot of the work you’ll get will be for commissions of brand new work.

Q) Is watermarking just a transparent layer in Photoshop over the top of the artwork? Would you advise that we put this on when adding images to Pinterest?

Lilla: This is an ongoing question. I like when the artist puts their name on the art like a signature or a mark, but when it’s a big ugly watermark I don’t like that.

Q) I heard that it is bad form to go to Surtex and similar trade shows as an illustrator without a booth and walk the floors handing out promotional material to Art Directors, etc., as it undermines all the illustrators that have invested time and money in a booth. Is this true?

Lilla: Yes, that’s true. You can go to look at booths to see how they display art, what the art is like, how it works, meet up with fellow illustrators, go to the conferences and trend lectures, hand your business cards to agents if they are not busy, chat with other illustrators in their booth if they are not with a client, etc. Just be sensitive.

Q) How do you create a password protected gallery for your own website, where the images cannot be downloaded?

Lilla: If you don’t know how to do it for the platform you use I would suggest you ask a web developer to help you. But you don’t need to do a password protected gallery if you don’t want to invest just now. You can simply let people know that you have lots more and you can send them work via email or dropbox, etc.

Q) Is it possible to have 2 agents?

Lilla: Generally, no.

Got your own questions for Lilla? Join us for the next round of Make Art That Sells. Class begins March 31.

Book your spot here!

Just had to share this – Diane Neukirch explains just what kept her so busy during the Make Art That Sells class…

Are you ready to start making more commercially viable art whilst staying true to yourself? Do you want to get inside the head of art directors in ten of the hottest markets for art, and find out exactly what they are looking for? Do you want to become part of a community of supportive artists who are just like you? If so, you need Make Art That Sells.

The next class starts on March 31. Don’t miss out! Find out more and register here.

It’s so hard to condense something as full and rich as Make Art That Sells into just a handful of key lessons, but Denise Holmes (aka Nisee Made) has done it beautifully with this animated video:

Are you ready to start making more commercially viable art whilst staying true to yourself? Do you want to get inside the head of art directors in ten of the hottest markets for art, and find out exactly what they are looking for? Do you want to become part of a community of supportive artists who are just like you? If so, you need Make Art That Sells.

The next class starts on March 31. Don’t miss out! Find out more and register here.

One of the fantastic things about online courses is the opportunity to be part of a lively and inspiring community of people like you all over the world. Although you don’t necessarily meet in person, it often feels like you know the other people – and sometimes they even become close friends. So we love to see video messages from our class participants, and get a peek into their lives and learn more about them. Here is a short message from MATS course graduate Ohn Mar Win, sharing what she learnt on Make Art That Sells. So sweet…

Are you ready to start making more commercially viable art whilst staying true to yourself? Do you want to get inside the head of art directors in ten of the hottest markets for art, and find out exactly what they are looking for? Do you want to become part of a community of supportive artists who are just like you? If so, you need Make Art That Sells.

The next class starts on March 31. Don’t miss out! Find out more and register here.

It’s Friday so it must be time for Lilla’s popular Q&A column, with questions from the previous class of Make Art That Sells. You can see what a wide variety of topics are covered – and you might even find the answer to that burning question you have been wanting to ask! We will be sharing a host of questions and answers over the next few Fridays so stay tuned!

Q) What percentage of fabric is printed in spot colors versus “full color” printing? (Perhaps that’s not the right terminology — I’m referring to full color artwork that is created conventionally.) Is that just as popular (or acceptable) with art directors and manufacturers than spot color artwork?

Lilla: Most fabric is printed in spot colors, but as I mention in the course, fabric companies love traditional media and will either separate the colors for you, or will print digitally (full color printing).

Q) The bolt fabric assignment asked us to avoid all primary and secondary colours. Is this only for us to try something new (assuming that we normally use those colours), or are there other reasons? I see lots of primaries and secondaries on some of your artists’ work.

Lilla: It reads “Avoid using all primary and secondary colors in equal amounts”. Use some more than others, and try non-primaries and non-secondaries like neutrals such as tan, pinky-beige, or dove grey, for example.

Q) For bolt fabric, is it better to rotate the images so that there’s no right-side up?

Lilla: If you are licensing to a bolt fabric company, you don’t need to do this unless you like to. This is something they will do if need be. You want to wow them with your cool subject matter, great icons, and super color palette.

Q) In regards to designing a bolt fabric line, how far in advance do you recommend working?

Lilla: Winter holiday art is usually bought in the summer. Many companies buy 6 months in advance, so you would show your work for spring in the autumn, and your summer work in the winter, etc., but it varies a bit from company to company and market to market. And work that is not seasonally-based, like your kitchen pattern, can be shown at any time.

Q) You mentioned that fabric companies will turn our art into repeats themselves and it’s not necessary that we do it, but rather concentrate on making great art. Is that often the case?

Lilla: Yessiree! Make great art! And that is why you are here in the class. That is our experience with all of our artists’ work with many fabric companies—you don’t need to make repeats per se. By making a piece with sprinkled-around icons, the company can make the repeats.

Q) If someone who licenses their artwork only had time to focus on two or three categories, which are the most lucrative or deepest?

Lilla: It’s a great question. It’s very important to focus on lucrative outlets for your work while staying true to your passion. The answer to your question is that the most lucrative markets are the ones that you are most successful in! You might have a bolt fabric company that keeps licensing your work for collections. Some of my artists that get a handful of lucrative greeting card commissions every month. Some get Target gift cards now and then that pay really well! Some of my artists have products like holiday ornament deals with Crate & Barrel every year. You never know where you’re going to hit! It’s like fishing. And I’m helping you make the bait.

Ideally, you are going to license your art in multiple categories. In the beginning, you are happy to get any category. Cast a wide net and see what you get. All the markets in MATS Part A and Part B have the potential to be lucrative as they are all tied to large companies. You’ll find over the course of MATS that many of the pieces that you create for one market are perfect for many of the other markets! I’ve created assignments for you with that in mind. Cool. And it’s true that people buy your joy, so keep staying tuned in to what kind of art you love to make.

Q) In general, do royalty rates remain the same over time or is that something you can negotiate as you work with a client (especially if your work sells well and you’ve worked with the client for a while)?

Lilla: If, over time, your work is selling well, by all means have a discussion with your client about that. You might say, “I love working with you. It’s been very rewarding. My products seem to be selling well and my royalty statements seem to be quite good. I’m wondering if you would consider discussing raising my royalty rate.”

Q) What should you do if a client asks you to make so many changes to a piece of work that it stops looking like your work? It is frustrating – how can I deal with this?

Lilla: Two things. One, try your best to make it fabulous, even with the changes. It can be hard to do. It requires flexibility. Perhaps they want you to add certain icons, or change the colors. Those are things you can do. If they want you to draw in a way that is not how you draw, or in a style that is not what you are able to do, then this job is not a good fit. You can pass on taking the job next time. That’s the sign of an art director that is inexperienced.

Q) Should an artist attempt to maintain a somewhat thematic style, or go with the flow and just create based on their instinct paired with market knowledge? Is it a danger that an artist becomes too identifiable with a specific style, or is it a positive?

Lilla: If an artist has an identifiable style, that is fabulous! That takes years to develop, and then the artist is in demand for their “brand”. All my artists have their own unique style or brand, and companies come to us for our artists’ look. You get really interesting projects this way. The other way is to be a jack of all trades which is fun because you get to do all kinds of things. You don’t need to decide this issue that right away. You make art and see where it leads. Strive for the very best you can be, however, whichever path you take.

Got your own questions for Lilla? Join us for the next round of Make Art That Sells. Class begins March 31.

Book your spot here!

In this beautifully animated video, Make Art That Sells graduate Jan Avellana shares what the course taught her.

Are you ready to start making more commercially viable art whilst staying true to yourself? Do you want to get inside the head of art directors in ten of the hottest markets for art, and find out exactly what they are looking for? Do you want to become part of a community of supportive artists who are just like you? If so, you need Make Art That Sells.

The next class starts on March 31. Don’t miss out! Find out more and register here.

If you have been wondering what kind of people take Make Art That Sells, and what they get out of it, this short video from the lovely Carolina Coto (a MATS graduate) is for you:

Are you ready to start making more commercially viable art whilst staying true to yourself? Do you want to get inside the head of art directors in ten of the hottest markets for art, and find out exactly what they are looking for? Do you want to become part of a community of supportive artists who are just like you? If so, you need Make Art That Sells.

The next class starts on March 31. Don’t miss out! Find out more and register here.

Over the next few weeks we are bringing back Lilla’s popular Q&A column, this time with questions from the previous class of Make Art That Sells. You can see what a wide variety of topics are covered – and you might even find the answer to that burning question you have been wanting to ask! We will be sharing a host of questions and answers over the next few Fridays so stay tuned!

Q) How can we find an agent/ artist representative to represent our work? 

Lilla: The book, “Artist’s and Graphic Designer’s Market” lists agents, and each agent lists how they like to be approached. Generally, I suggest emailing a few lo res jpgs (72 dpi) and a link to a website, plus a little bit on why you’d like an agent, and in particular that agency. Agents take a percentage, from about 30% to 50%. Generally, most agents are exclusive in all categories, but some handle only licensing, or children’s books, for example.

Q) Isn’t it a risk to submit art to companies that buy art when they often also develop their own collections and might copy your ideas? Can you protect your work against abuse this way?

Lilla: Do you hold everything close to you, or do you risk it and show your work to get work? You show your work. 99% of the time, companies do not copy. They don’t want a lawsuit. Companies that do copy are so rare, and more and more are getting outed by social media and legal action. We as artists can band together now.

The more you are a unique brand, the less likely you are to be copied, and when you are, it’s obvious that it’s your work. (This course helps you create your own unique brand, your own special look. So you are in the right place!) Some agencies and artists require passwords to their site. In addition to a blog and portfolios of all our artists work on our site, we do have a password-protected section for our freshest work. It’s a bit of both. You can give a taste on your site and blog, and then send your freshest work out to your favorite clients.

Think about any company out there, like Paperchase or Crate & Barrel. Any other manufacturer or retailer can copy or riff off of their products, too. We all take risks.

Do your best, keep making work, put your name on all art, only send lo res jpgs, and copyright your work. (Note: copyright arises automatically in some countries)

Q) How do you create a story in your design (like squirrels baking pies) instead of just drawing pictures? Do you try to think of something witty?

Lilla: Don’t force it. Play. Make up a story. Dream.  Space out. Pretend you’re telling a little tale to a child. Where is that little raccoon going? What is she wearing? Not everyone creates stories. It’s not for everyone. No worries. You’ll learn more about this next week in the Children’s Book week.

Q) When creating coordinate patterns can I use elements that are contained in the principal pattern? Emma Schoneberg

Lilla: Yes, that’s fine, but you want to give value to the client, so the less repetition, the better.

Q)I have a question about typography in different languages. I sometimes use words in the Irish language, but it’s not a well-known language. Would I be limiting myself by using Irish words in my illustrations/patterns or would it be a chance to make my work unique? Tina Devins

Lilla: You want to be able to sell your work around the world. The largest market is English-speaking, so you want to not limit yourself. Be unique in other ways.

Q) If we work mainly in Photoshop and a client asks for a file in Illustrator what do we do?

Lilla: Work in the program that you like best. Build up your body of work. Most clients can take either format. You can’t second guess who wants what. Work in layers in Photoshop, hi res, and don’t flatten. I have artists that work in Photoshop, and artists that work in Illustrator. Rarely do they work equally in both. And they all get work. If you like flat shapes, Illustrator is best. If you like paint and traditional media and scanning in, Photoshop is best.

Q) Up until now I have sold most of my art on print on demand sites such as Society6, Redbubble, Zazzle etc. Would it be OK to license art and also sell it this way?  How is this viewed within the industry?

Lilla: It’s totally fine. It’s a great way to get your work out there, seen, make some money, link to your products from you site, and test what art of yours is selling well.

Got your own questions for Lilla? Join us for the next round of Make Art That Sells. Class begins March 31.

Book your spot here!