We asked Maureen to supply us with some information about her business story. What she has given us is a fascinating snapshot that gives insight into the world of Art Licensing and Social Enrepreneurialship. A great read – thanks, Maureen!
As written by Maureen Doallas…
I own a small art-licensing company, Transformational Threads. Founded in 2008, this one-person, sole proprietorship licenses images of original fine art. Color-correct photos of the licensed images are sent to Vietnam, where they are rendered into exquisite custom hand-embroidery by highly skilled artisans. The finished pieces, which are called “thread paintings” and are remarkably faithful reconceptions of the original paintings, are then returned to the United States, hand-stretched and matted, and made ready for sale as unique limited-edition artworks.
My goals in starting the company were three-fold:
—To establish an art-related business that could be run online. I could not afford to rent or purchase expensive gallery space. Doing business via the Web is now well-accepted, even expected; and being able to purchase art online has become routine.
—To offer a unique and affordable hand-made artwork that would be limited to no more than 100 pieces. Many artists license their work, reproducing their paintings as digital prints (giclees) or as images on note cards, calendars, or other commercial products that can be sold in large volumes to individuals who like their work but cannot afford a painting selling for hundreds or thousands of dollars. I offer hand-embroidered collectible. I have met no one who licenses art images expressly for the purpose of creating custom, handmade, limited edition artwork based on the originals.
—To support both emerging artists in the U.S. and artisans abroad. I have long been interested in handcraft. Vietnamese embroidery is an especially beautiful art form and unique because it covers the entire ground. Having access to artisans through two Vietnamese friends made supporting the Vietnamese craft a no-brainer. Because I know many artists, I also wanted to find a way to highlight and support those getting started; the licensing approach enables me to accomplish both aims.
Jennifer Kassing-Bradley, "Nerium Oleander #1", Oil on Canvas (She is an oil painter who lives on one of the islands off South Carolina's coast.)
In Transformational Threads, I created a company that is Web-based; takes an approach to art licensing that is wholly unique; supports a centuries-old Vietnamese craft; and returns to the artists whose images are licensed a negotiated royalty for use of the images, which are featured on my Website, in company brochures, and on business cards and postcards, and highlighted in feature articles about the company.
Before going into business, I spent more than six months researching art licensing, the legalities of art licensing, current purveyors of Vietnamese embroidery, artists whose images could be realized in embroidery, and many other aspects of operating a business, including, for example, calculating start-up costs, writing a business plan, finding a name for my business, creating a professional and easily updatable Website, and marketing via the Web and offline. I attended several workshops about business startups, learning what I needed to know about state and local taxes, recordkeeping, and other business matters. In addition, I met many times with my long-time Vietnamese friends, both of whom are artists and whose village produces custom embroidery; after I explained what I wanted to do, they offered to set up arrangements with their village and become my direct liaisons with Vietnam. I could not have started the business as I conceived it had my friends not supported my idea and been willing to act on my behalf.
I took about another month to research and acquire a name, obtain the necessary local and state registrations and business licenses, establish a business banking account, and take care of other start-up requirements. Using templates created by an arts attorney, I wrote contract agreements and created forms to use in licensing fine art images. I identified artists whose work was appropriate for licensing and entered into agreements. I sent photos of the images to Vietnam, via my liaisons. While waiting for samples to be returned for my inspection and approval, I contracted with a Website provider and began building my Website. Following approval of samples, I contracted for two 25-piece editions in embroidery and prepared for publicly launching the business when the editions were within a month of delivery. In February 2008, the Website went live with two inaugural editions. I contracted for a new 25-piece edition of a third artwork for delivery in June. I enjoyed a number of sales and uniformly positive response to the artwork. I was both excited and gratified.
Nuch Owen, "Koi", Original Hand-Painting on Habotai Silk (She's a wonderful silk artist who lives in Florida.)
That first year, however, a very ill family member came to live with us and much of my time was given over to unanticipated caregiving and other family matters, precluding a launch celebration. I did have some sales, did some advertising, placed pieces from the editions in a gallery for publicity, got listed on various arts-related Websites, and even managed an in-home arts event; however, I was not able to give the business as much attention as I would have otherwise. Subsequently, economic conditions everywhere declined to the point that every artist I know was barely making a living selling art of any kind. I gave a lot of thought to continuing or closing down; I decided to hang in.
Some thoughts on the business currently:
— Timing is tricky. I could not have foreseen the circumstance involving the family member, nor the recession that prompted people to stop opening their wallets for luxury goods, of which art is one. What has saved me these first two years, apart from not being a store-front operation, has been cautious and conservative financial investment in the artwork. I set and held to a budget for expenses, and have been especially careful to not produce a huge inventory of thread paintings, and likely will hold to status quo until economic and market conditions improve. If I had to close down, I would suffer a loss but I have no debts and do have capital to finance new editions.
— Being on the Web is essential but so is finding a way to enable people to see the art in person. Because I do not hand-craft the work myself and the work is done abroad, I cannot gain entry into local fine craft shows or festivals; because I am not Vietnamese, I cannot participate in events for foreign artisans. I’ve had to think of ways to bring together the art I sell and prospective purchasers, such as in-home art events (I did one last year with someone who sells hand-made jewelry) and appearances before groups that share leads, church groups, and the like. I make it convenient for people to see the work in person (I’ll deliver locally and also take the product to a customer to see). I use all Social Media. I always carry with me brochures or postcards and business cards and use every opportunity to talk about the business. Most recently, I attended an event about travel to Vietnam that was hosted by a gallery owner who is preparing to have a “trunk show” of Vietnamese craft at a large and important museum. We are now talking about the possibility of featuring the thread paintings at that event and in the museum’s gift shop—an opportunity that could prove very beneficial to Transformational Threads.
— Keeping people coming to the Website is important. Creating the custom embroidery in an edition of just 25 is highly labor-intensive; it takes the Vietnamese artisans four to five months. I cannot advertise product until it is within a month of becoming available. So, I look for ways to keep the Website fresh, such as using the occasion of the company’s first anniversary to offer a stunning new thread painting, switching images in and out, rewriting the text, and updating the Announcements page frequently. I also began blogging in late 2009, and that has resulted in several articles being written that have given the company some visibility before people I would not normally have reached.
— Print advertising is expensive and seems not to result in sales. Word-of-mouth has been helpful, as has an appearance at the studio of one local artist whose work I licensed. I look for online publicity opportunities that are minimal in cost but reach prospective art buyers.
— It’s important to think creatively. I’ve been in contact with interior and show house designers who might be interested in the thread paintings for client projects. I’m considering framing several pieces and offering them under a rental or lease option that could lead to customer purchasing. I highlight articles about the artists whose work I’ve licensed. I use my blog, Writing Without Paper, to link back to my business site. I’ve had family members in other states place brochures in local businesses where art is bought and sold. I’ve placed notices in or sent press releases to licensed artists’ alumni periodicals or galleries that sell the artists’ work.
— Spread the risk. Altruism is wonderful but can get in the way of doing what’s best for the company. In addition to fronting all costs, I’ve required nothing of the artists whose work I’ve licensed. One has publicized the thread painting based on her work, and that has been important. I made the mistake of including in my artist agreements a provision prohibiting a sale for resale purposes, which means my flexibility to sell to a home design shop or gallery has been constrained.
— Be flexible. I’m revisiting my business approach to determine how to make it work better for me. I will be changing some of the terms of future agreements with artists to give me the flexibility to take the product where there is a market, such as museum gift shops.
— Accept what you can control and let the rest go. I’m passionate about my small business, about the artists whose work I’ve licensed, about the Vietnamese artisans who create the editions I offer. I have a high-quality and unique product that sells at several price points (US$175 – $365). I have time to wait out improvements in the economy, and I’ve invested cautiously enough at startup and over the last two years to have sufficient resources to carry the business through the current economic decline.
Maureen E. Doallas
Owner, Transformational Threads
Arlington, VA USA
Hayley, thank you so very much for giving me the opportunity to write a bit about my company and for your own ongoing encouragement and support. I hope one day our paths will cross in person.
My pleasure, Maureen. You probably have no idea how much your support has encouraged me to keep going many times when I wondered if it was really worth all the effort.
You’re a legend! Enjoy the music too!