Art Licensing: The Real Money In Cartooning
In my ten years of cartooning, people often want to talk about the money. They say things like, “You must be rich with all those newspapers you are in.” In the first place, I’m not in that many newspapers and not even syndicated. Even if I was in syndication, that is not where the money is in cartooning. Speaking of syndication, the lottery has better odds.
So how does the cartoonist make his or her money? The most lucrative part of cartooning is a little-known but huge business called “image licensing”. Image licensing has been around a long time. It is known to be about an 80 billion dollar a year business, yet so few people know about it. That could be because, though the end user is the general retail buying public, this demographic of our population rarely sees or cares to see what goes on behind the scenes.
Licensing works like any other business. It is basically a trade for money. The artist approaches a manufacturer with a piece of art that he or she thinks would help enhance a product and the manufacturer and firm makes a decision. If it is positive, a licensing deal is made. Businesses also license to each other. Like a beer company logo to Nascar (or vice versa).
LIMA is the industry association. One does not have to be a member to be in the art licensing game but it doesn’t hurt. Such associations are a great way to make contacts.
A lot of times the artist is a cartoonist. This is a hard sell for licensing but occasionally works and is done in reverse. Let’s say Disney or Hanna-Barbara has an image like Mickey Mouse or Barney Rubble. A tote bag maker wants the exclusive rights to manufacture and market those images on their totes. In this case, they pay Disney or HB a royalty of sales.
In my case, I started as an unknown writer and cartoonist I was having no luck becoming syndicated yet my naivity kept me from becoming pessimistic. So I approached a number of trade magazines that desperately needed good cartoons with their articles and sold them for what I could. I slowly built a portfolio and finally was able to take it to a manufacturer/drop-shipper who was willing to take a chance and make the products with a royalty split. I did not have a licensing agent so my attorney handled the contract for me. It is always a good idea, if your strength is in art and not numbers to have a professional in another area (like an attorney or agent) do that part of the job.
As time went by, I found more manufacturers who made different products than my first ones and was able to make deals with them, using the same contract template.
My work has appeared frequently in publications worldwide, I am yet to be syndicated, yet the traditional old way (before the Internet) was to become syndicated first, then manufactured for licensing. Syndication companies are even utilizing the Internet to lure good cartoonists and publish them often in online newspapers. The days of hard copy print may be a thing of the past.
The Internet has opened all kinds of doors for the new and even veteran cartoonist who wants to be published with Ezines, blogs, and thousands of commercial websites that want a humor section on their site to attract customers. It takes a lot of legwork and it doesn’t happen overnight. But it is worth the trouble.
Ten years ago I was working and living in a metal warehouse and had less than a hundred cartoons up on a free domain (I couldn’t afford a www domain). Now I have eight domains, seven stores with almost 80,000 products in about 100 different categories , and the most visited offbeat cartoon site on the Internet, Londons Times Cartoons with over 8500 original images and almost 9 million visitors. That’s not so bad for ten year’s work, at least not for me.
Did I pay a price? Sure. Anyone does who sets his or her goal high. Was it worth it? I wouldn’t trade it for the world.
Leave a Reply