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Art + Audience
Ep. 29: Is Leverage Your Art Worth It? Alumni Share Their Honest Results
00:44:26
In this special episode, Stacie brings together a panel of alumni from her signature program, Leverage Your Art. These artists, from illustrators to surface pattern designers to product-based business owners, share their honest experiences, big...
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- [00:00]
A
This episode is brought to you by Progressive Insurance. Do you ever think about switching insurance companies to see if you could save some cash? Progressive makes it easy to see if you could save when you bundle your home and auto policies. Try it@progressive.com Progressive Casualty Insurance Company and affiliates. Potential savings will vary. Not available in all states. And at first I was like, how are they allowed to do that? And then I realized it's because they were just working on making it more cohesive. And that's what we all have to do. And, you know, I think we're all lifelong learners here. And if you're willing to like, go back to your early work, that doesn't mean you can't be proud of that early work. But often you keep learning and getting better and better and you can go back with fresh eyes on something that you've already created and think, how can I tweak this a little bit to bring it back to life? Wouldn't it be nice if your art business loved you back? Hi, I'm Stacy Bloomfield. After years of trial and error and late night doodling, I went from being a coffee shop manager to running a vibrant seven figure art business that I love. And now I'm on a mission to help more artists create an art business that they love too. So I invite you to find a cozy spot, pull out your favorite sketchbook and listen in. It's never too late to chase your creative dreams. Welcome to the Art Plus Audience podcast. Today we are talking about Leverage youe Art, My eight week course. And we are here with several alumni of the course, some of them you may know. Let's just start and everybody introduce yourself. Ash, you go first. Hi everybody.
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B
I'm Ashley Padgett.
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C
My business name is Ash Cascade. Cascade is my middle name. So that's how I got that. I'm in Oregon and I took leverage art in 2020.
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A
All right, let's keep going.
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D
I'm Kelsey Kelsey Weigel. I'm up in Canada in Edmonton. I'm a graphic designer turned surface pattern designer. So only last year I found out about the world of licensing and like Dove Headfirst in I took leverage in 2021. So just last year.
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B
Hello everyone. I'm Laura. I am the creator of Laura 70 design and I'm very similar to Kelsey actually because I'm also a graphic designer turned surface pattern designer living in Canada and I live in Vancouver and took the course in 2021 as well.
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A
Thanks so much for being here with us, Laura. I'm so glad that you're here.
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B
I'm excited.
- [02:23]
A
All right, who's next?
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E
Hi everyone. My name is Mabel and the service designer behind Mabel Tan Designs, I took leverage in 2020, remember? I think that was the year Stacy launched it.
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F
Hi, I am Next. I am Megan Stringfellow of Megan Stringfellow llc and I am a illustrator, author, surface pattern designer and other and I.
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A
Took leverage for the first time in 2020. Back first class, another founding member. Welcome, welcome. Who's next in the Alphabet?
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G
I am Shirley. I am the owner of Quiet Lines Design. I was previously a elementary art teacher turned full time working artist in January of 2021. And I took leverage in 2020.
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A
Way to go, 2020. All right, who's next?
- [03:20]
H
Hi, I'm Tiffany Grimes. I'm the creator of Posterity Paper. I'm a stationary designer and I took leverage in 2021.
- [03:28]
A
Thank you for being here, Tiffany. I'm so happy you're here. That's it. That's our crew. So everybody who's here watching with us, I've invited some alumni to talk to you specifically because there are a lot of questions about one, is this course really for me? Two, two, why would I need this when I'm also in a membership with you? Totally get it. Three, like, I'm not necessarily a surface pattern designer or an illustrator. Can this course really help me grow my business? And four, what if I don't have a big body of work yet? How does it fit in for me and my business and where I want to go? It's better for you to hear, I think, from people who've actually gone through the program and can tell you firsthand. So that's why we've invited them here today. Leverage your art the way I've designed it is created to be like an eight week immersive experience so that you can pretty much have a creative of business training in eight weeks. So really it's not medium specific. It doesn't matter if you use Adobe Illustrator or Procreate or you are painting by hand or your hand. Making things the way I've designed it is really to be more of an art business course. Pretty much the secret key for anybody who's an artist who wants to learn to make money from their art and that's applicable no matter the medium that you're working in. And so, you know, I could keep talking, but at this point I want to throw it to our lovely panel. So question one. And anyone can answer this. If I don't create as an illustrator like Stacy does, if I'm A non, like, digital artist. If I'm a fine artist or a traditional artist will leverage your art. Help me. What do you guys think?
- [04:59]
E
I would say yes, definitely. I think it applies to any creative medium. It doesn't have to be just design. I think it applies to photography and fine art. I actually run a free art licensing group and there's a whole mixture of artists in that group. And there was one particular person that was like, should I get an agent? I'm a fine art artist, not a digital artist. And I wish I could, like, just throw leverage without being too overwhelming. But because you go like in stages, bit by bit on, like, just like creating. Having a path to create and a roadmap to knowing what to do from step by step and not needing. People don't realize they don't need an agent to get their work out into the world. And these are the actionable steps that you can take to do things regardless of what creative field that you're in. I think it applies to any niche that you decide to go on and focus on that and clear all the other clutters. And yeah, my answer is, yes, it definitely applies to any mediums.
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A
I agree. What do you think? So who was going next? Was that Megan? And then.
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F
Yeah, I would second most of what she said. You know, I think I've seen some, you know, some since I've done this two years in a row now. It's been really amazing to watch all the different kinds of artists that come into the group because it is, you know, it is not just for the illustrators. It's for people who like to sew and make stuff and do like, ceramics. And leverage really is like, like she said, it gives you like the. The toolbox you need. It's like, here's how to take your creative ideas and here's like, how to turn that into a business. And here's how to think like a. A business person. You know, put that hat on, be like. Because we can all make things usually pretty easily. That's why we're here. And then it's like, but leverage really helps you start to say, like, okay, how do I take these things that I make and what more can I do with it? And, you know, that's. That's one of the things that leverage does. It doesn't. It's for everyone. You know, like, if you do cross stitch, you can do patterns, you know, it's. It really just kind of blows your mind but then helps you think, like, okay, and I think that that's Good. Because otherwise you would. It would be very narrow just to illustrators or something. But it's for all creative people who want to make money with their art rather than, you know, just have it as a hobby, which you could do, too.
- [07:22]
A
Absolutely. What? I agree. Ashley, what were you going to say?
- [07:26]
C
Yeah, I was just gonna say, agree with all of that and that any medium of art that you can, you do, you can license and leverage almost everything that you do. I mean, even if you're a potter, you can make a subscription box or you could maybe license your way of doing your pottery, or if you're a watercolorist, you can make prints and originals and you can license to, like, Juniper Print Shop. You can do. You can do what Stacy teaches us in leverage. I don't. I don't. I can't really think of a limit or a certain type of art that couldn't be used. So I think that it just teaches you to take what you do and get it out in as many ways as possible.
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D
I would say.
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A
Kelsey, what were you going to say?
- [08:15]
D
I was just going to add, too, that even if you go into the program thinking, like, well, I'm going to turn my paintings into art prints and cards, I feel like even just going in, thinking that and just going through a lesson thinking, oh, this probably won't apply to me. Like, it's crazy to be. Just to have a new way of thinking. So something might take you down an avenue you'd never even expect because you do offer, like, a lot of different ways to make income. And I think even just in the community, seeing what other people are doing and other people will offer suggestions as well. I don't know, I feel like the path might be not what you even expect, too. So I think that's a cool part about it.
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F
I think that's great. I would second that. Like, I think the thing about leverage is it really broadens your horizons, I guess, helps you have a more open mind. Because like you said, we tend to think just like, this is what I have been doing. This is all I know how to do, and I don't really know what else to do and the frustration that comes with it. But you go through leverage and you're just like, there is so much more out there that I never even thought of. And, yeah, so that's great.
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A
So you know what, to echo what you all are saying. What I see a lot is it's almost a mindset shift that has to happen for all artists, because I think a lot of times we fixate on the wrong problem. We're thinking, well, how do I license whenever I am a fine artist? And so you might be looking specifically for a teacher who's teaching only about licensing for fine art, but that probably teacher. They might exist, but it's very, very niche. Because the truth is, art licensing, the way it works, the way you build a portfolio, it's not medium specific. Yes, you might need to take photos of your three dimensional art or scan them and get them into your computer so we can build a portfolio and show it to the right people. But you know, I think that whenever you think of art licensing in general, you have to just have a mindset shift. Instead of thinking, why won't this work for me? Look for the examples of where it can work for you. And that's why in Leverage Art, I invite in so many special guests who actually create in different ways than I do because I want people to see firsthand what's possible. Like we have to have the mindset shift of why wouldn't this work for me? First of all, the next question for you all is, and this might be for some of our international folks to answer this one, a big question we have is, if I don't live in the United States, how will this course help me? Not just in terms of copyright and legalities, but what barriers are there to this if I live outside of the United States? So take it from here. My friends who are international, well, I.
- [10:48]
D
Don'T live far from the United States. I just live above the United States. And I have found I only have three contracts, but two of them are American companies and actually works in my favor because I get paid in American dollars. So I feel like it's good because our dollar isn't as strong. So there are lots of benefits that way. And I found that they just pay via PayPal. It honestly is not like a thing to be international. I haven't found it all. So that's definitely. And I wouldn't say it is a barrier. And I think it was state. Was it you talking, Stacy, couple zooms ago, maybe through the mini course you were talking about copywriting and how most of the work is actually done through like in the United States. So it's good to even have copyrights in the United States, even if you're international. So I wouldn't say it's a barrier at all. And in fact, I feel like I don't know, most of the surface designers that I follow are international. So I don't know. I wouldn't say It's a prom metal.
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A
I haven't found any problems yet, Mabel.
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E
And then you can go, sorry, I introduced that. I'm actually based in Melbourne, Australia. I think this is like one of the most common questions that I get from my community as well. Like, I'm from India, I'm from Malaysia, I'm from anywhere. And they always think that it's not possible for them to move out of the boundaries of their country to license. And I don't know why this is a misconception with creatives, because it is. There is no border. Your mind has no limits. You can license your work to any country. And I've licensed to a company in Denmark. I work with companies in London. I have companies in US that's licensed my work. And just like what Kelsey said, like, the best part is they pay you in a foreign currency that is substantially better because of the exchange rate. So, like, I just got paid in euros recently and I'm like, boom. It's like way higher than what I would normally get in my standard licensing price. So, like, I'm really happy. So. And there's so many ways to receive payment this days. Like, PayPal was one of them. And wise, I think it was called transfer wise before, but now it's called wise, and it's so easy to receive international transactions. If anyone's concerned about bookkeeping part, there is like software out there, like Xero, to help you deal with that. And in terms of copywriting, I think this is also a big question with a lot of Australian artists. I've always thought that once you actually put your work on Internet, like social media and stuff, or you publish it and send it to the client, it's your copyright, it's automatically protected. But if you want to have an actual protection, you can always apply a U.S. copyright on your artwork. So that covers both areas.
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A
Absolutely. Laura, what were you going to say? And then Ash.
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B
Yeah, I was just going to chime in because, like, I think I took the course last year and that was a huge question for me too. And I actually remember reaching out to you, Stacy, and asking, like, because I'm in Canada, like, is this still going to apply to me? And 100 it does. Because I think though, so I don't have a business or I don't have a background in business. So I. I was really nervous primarily when it came to taxes, I remember. And even just watching, Stacy, you go through kind of the process of like, copyright and kind of like dealing with, like, taxes and things like that in the States Just hinted at what I needed to pay attention to in Canada and that was like, really, really helpful for me just to like, better understand, like, what to pay attention to. So it definitely helped out big time for me.
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A
I'm glad to hear that. And I remember chatting with you last year and I'm so glad that you're.
- [14:35]
B
Here now decision ever.
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C
I love that.
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A
Ashley, what were you going to say?
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C
I'm in the United States, so I can't really speak to all the copyright and the differences between that, but I can speak to. I mean, I feel like the bulk of the class is just international concepts like portfolio building and how to take one piece of art and put it on a ton of different items and just licensing versus wholesale versus like all the. All the meat and potatoes of the course are just artistic, creative, business concepts. They're not as. It's not as specific. So yes, from my perspective, I would say that probably 90% of the course is just international because of the concepts.
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A
That's kind of on purpose. I made it that way. I actually did that on purpose. And I've winnowed it down even more to making sure that we're focusing on the things that are most applicable to all artists. Because the truth is, is like there is not a barrier for artists in terms of location. In fact, a lot of the licensed artists, and we're going to talk about non licensing in a second. You can be a licensed artist in Australia, New Zealand, Canada. We get a lot of messages from folks in India specifically because art licensing isn't something that's common in that country. But you can be an artist in India and license outside of India to other countries. Even myself as an artist in America, sometimes I think I got a pitch to American companies. I remember feeling that way early on, and then I remember when I was like, light bulb. The whole world is available to partner with. And it really just creates a lot of possibility for artists.
- [16:14]
C
Also, if you learn how to do your contracts correctly, and I mean not correctly, but you know, you can take one piece of art and license it exclusively in one country and then also in. Exclusively in another country. And those two companies might not care because they have completely different audiences for their products. And so it just opens it up even more.
- [16:34]
A
So once you learn the fundamentals of contracts and portfolios and pitching honestly, like, you just gotta open up your world view to what's possible. And you know what's interesting? I think I'm. Gonna. This will kind of tie into what you do. Megan. Megan has pivoted A lot into books. And when I think of a lot of my favorite, like children's books kind of pivoting back to the medium talk. But a lot of the authors that we have for my kids books, like, first of all, they're not all based in the United States. They're from all over the place and yet they're writing and illustrating books. Then sometimes the illustration work when I open them up, sometimes they're collage, sometimes they're painted, sometimes they're digital illustrations. So really your medium is not going to limit you and your location is not going to limit you. It's about finding the product that is right for you. Whether it's art licensing to get your art on your product, going into books, digital downloads, or making your own products and selling them. And that's where I think this is going to be really applicable for you, Tiffany, and for you, Shirley, because you took the course but you're really focused on wholesale.
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C
Right?
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B
Right.
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G
Definitely.
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A
What I want to ask you is what did you find most applicable for you coming into this course whenever you had like a product background and how did it help you?
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G
Yeah, so I came into Leverage and I had actually taken paper camp in 19 in the fall and I, I came in with about 40 car designs and I had such a limited, I guess, mindset about what I could do with the art I was creating. So I had made my first calendar probably right before or during Leverage. And then as Stacy was teaching, like, Leverage that Art. Leverage that Art. I was like, so all of these calendar drawings that I've spent weeks on that could just live in a calendar and be sold one time, one year, I could pull every single illustration and turn into a sticker. So after Leverage, I launched Stickers. And they're honestly some of my best sellers. And it's work that I didn't have to redo. I just pulled it from my calendar and I think that was my biggest, well, not my biggest takeaway. But for whatever reason, I needed permission to use artwork and reuse it in different formats. I think I had this idea that that was cheating or being kind of a slacker and really it's just working smarter. I don't know why I needed somebody to tell me that. And I really think for me coming into this as a product, product based business, I also needed somebody like Stacy to really hone in on the idea of pitching. So I had this idea that like, well, if I show up on Instagram enough, my ideal customers and shops will find me. And as, as great as that would be then sometimes it happens. Stacy talks a lot about pitching, so she has really great techniques and a lot of information about pitching and leverage that I felt was super helpful, even for product based businesses, not just licensing.
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A
I'm glad that that was a big takeaway that you had. I remember when I had that aha moment to my own career. I was actually a retailer was looking at my work with me, and there was one design that was that they really liked, and they're like, why don't you take that same design and just recolor it and change the face on the animal and then you could have a trio. And I was like, what? I'm like, you can't do that. And she's like, yeah, you can. And this was like year three of my business maybe. And I've been doing this 13 years, and all of a sudden I was like, you're allowed to do these things. Oh, my gosh, Life is better. What do you think, Tiffany?
- [20:06]
F
I just wanted to say, Stacy, I'm a little mad at you since I've taken leverage, because I think I've made less art since I've taken your course than I did like, all the time before. Because I make something, I'm like, oh, well, I can just use it for this and this and this and this and this. And then I have end up with a lot less creative work because I don't need it as much as I used to. So shame on you.
- [20:26]
A
Look at us. I'm the art teacher. Taking away your art, it's kind of my goal. No, not really. That's not true. What do you think, Tiff?
- [20:33]
H
So when I joined Leverage youe Art, I had just gotten a licensing deal. And then as I was taking the course, I realized all the things I had done wrong and all the ways I wish I could have gone back and changed just the way I was working. So even though I'm still licensing work through Leverage, I learned how to tighten my designs, make them more cohesive. I was really all over the place, and I'm still working on getting some of that older work out and refining my color palette. Stacy encouraged me to tighten my hand lettering and to focus on just two styles because I had a bunch of different styles. And so I think that, you know, although I had this license saying, you know, arrangement, I was thinking, well, I want to start pitching myself to other companies, and I want to start pitching, you know, my work. But I just needed to make it cohesive. So I feel like I kind of worked a little bit backwards. But the course really helped me to hone in on my brand story. My elevator pitch, like Shirley was saying, like, pitching myself, I really put myself out there to some larger companies, and I just wouldn't have had that confidence, you know, before this course and knowing exactly what to say and how to say it. And just recently, I had a greeting card that wasn't really selling, and I had an opportunity to pitch to a big box store. And I thought, you know, if I change these colors, if I just change the copy a little bit, maybe this will fit their occasion. And I pitched it, and they're, like, ordering, like, 4,000 units.
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A
I didn't have to make new art.
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F
And I was like, this is amazing.
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H
So that's what I got from Leverage.
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A
Yeah, we're going to put that on the Leverage art website. Okay. Now, see, that's what I think is so incredible. And so artists often just like you, Tiffany, you might already be a great artist, but how can we tighten it up a little bit? We don't have to reinvent the wheel. How do we take what we're already doing really well and apply it throughout our entire portfolio to make it so much more cohesive? I remember years ago, there was an artist that I was following online. And a lot of what I've learned is through observation and then practicing. And I think that that's because I've been doing this for 13 years. I've been watching everybody who's been online, and I remember an artist I admired. They re released a collection. They said, this is some of my earliest work. And I decided to rework it and re release it. And at first I was like, how are they allowed to do that? And then I realized it's because they were just working on making it more cohesive. And that's what we all have to do. And, you know, I think we're all lifelong learners here. And if you're willing to, like, go back to your early work, that doesn't mean you can't be proud of that early work. But often you keep learning and getting better and better. Then you can go back with fresh eyes on something that you've already created and think, how can I tweak this a little bit to bring it back to life? And go, go, Megan, go, Megan, go.
- [23:21]
F
Well, riffing off of that. Plus also, like, you know, if I'm not a digital artist, like, what you're talking about is, like, lately I've been finding myself going back to some of, you know, I have sketchbooks full and.
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D
Full of, like, little People that I've.
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F
Drawn characters, you know, where it's like, I drew somebody or character or look, a little snippet of a story that was in my head, but, like, I just put it on paper and then that was it. That was. That's where it lived. Was just there. And now that, like you said, I'm getting more into doing, like, my own picture books. And finally, I'm going back.
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A
I'm like, wait, I have, like, a.
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F
Hundred characters that are already alive in some form. Why am I trying to think about story ideas? I just need to go back and look at these and be like, that's right. What was his story? Well, let's. Let's expand on this and, you know, not just abandon the things that I've spent the last 40 years making. And so, yeah, don't be afraid to, like, go back and go back to those things that. When you were just. Just passionate about making art for its art sakes, that's like the golden stuff.
- [24:21]
A
Like, so I love that, and I hope it gives everyone who's watching this, either on a replay or watching this live with us right now, permission to know that, like, you probably have more to offer than you realize, but that actually segues into a really nice topic. What if you don't have a lot of artwork and so you don't have all this year's worth of artwork to go back to? That's a huge question we get from people who are at the beginning of their creative journey. They're afraid to jump into a course, like leverage, because they're thinking, I need a big portfolio. What do you think about that, guys?
- [24:53]
B
So I feel like I also was struggling with that question before when I was considering enrolling, because, again, I'm very early in my business, like, process, I would say. So I definitely resonate with that fear as well, of, like, if I was ready to take the course. And honestly, my feedback now or just anyone going through that and, like, looking back is I found a lot of inspiration through taking the course because you're surrounded by a lot of creative people, that it just naturally kind of flows into you that you start creating a lot of work, and then also because you're teaching us to be exactly what you were saying, like, making marketable work. I think I ended up creating stronger work because you guided us to the type of work we should be creating as professionals, rather than me waiting and postponing for another year to just blindly create work. So I think in that end, it was hugely beneficial for me, and I'm so happy that I didn't procrastinate for another year because I definitely created stronger artwork because of it.
- [26:02]
A
Anyone else have any comments on, like, if you don't have a lot of art yet?
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E
Kelsey?
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D
I just want to agree with Laura and say that, like, just being in the community makes you want to create, like, the actual community. Part of it is such a, like, huge part of the program. Like, just connecting with students, international students, seeing, like, all the different styles and, like, all the different mediums that everyone's working in. Like, I had been a graphic designer until last year. I'd never made a pattern before 2021. And I made, like, so much work last year, like, while doing the course, because you, like, want to try these new things out. You want to, like, you know, you kind of want to put it into real life. So even though you're in class and you're, like, studying and, you know, keeping up there is. I feel like you're also, like, energized and re motivated to just, like, create work. So I thought that was really cool because I just felt like I. I don't know. I took design school a long time ago, and it took a long time for me to be excited again to create. And it just. This was it for me. I was like, okay, I can be cool and relevant again. I just needed the right people to create with. So, yeah, it's nice to be among other creatives.
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A
I love that. Tiff, what were you gonna say? I keep saying tiff. Tiffany, let me. Professional. Tiffany, what are you gonna say?
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F
That's fine.
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H
I was gonna say that the course did help me lean into my uni. And just seeing just what I think Stacy called it, like, a creative formula. Like, when I was creating art, like, what's the formula behind this? Like, what's my thing? And you talked a lot about, like, the line weight and the color palette and things like that. And I remember, you know, I had the work that I had created before the class, but during the course, I had made a greeting card. And I loved it, but I couldn't really figure out why. And so I really had to sit.
- [27:52]
A
Down and study it.
- [27:53]
H
Like, what makes this one different than all the others? And so I started to dissect, oh, this line weight, the colors. You know, a bold color mixed with a more muted color and this and the motif. And that has really helped me. I feel like now when I go to create new work, I have that formula in mind, the way that I, you know, pair colors and the motifs and things like that. And that was all based on this idea of, like, creating some sort of, like, formula for your work. And I think that that has helped me create more and add. To add to my portfolio.
- [28:29]
A
That makes me so happy to hear, because to your point, like, I think that we don't realize it, but a lot of the brands that we're attracted to, when we look at their whole, like, range or body of work or illustrators, there probably are all these common threads and common themes in their work that if you were to sit down and analyze that, you would realize, oh, wow, I can see this big connection here between everything. But I think for ourselves as artists, sometimes we complicate it for ourselves. Ourselves, we're like, all right, every single piece needs to be unique and special and so unique and special that maybe my life is harder than it needs to be. And it can still be its own powerful piece of work. But how can we maybe, like, make our lives easier by having these creative formulas for ourselves? I love that, Tiffany. That's a great insight. Before we wrap it up, I want to ask everybody to go around and share what they're like. Okay, if you right now were talking to someone on the fence about joining Leverage your art, what would you say to them? That's the closing question I want from each of you. So I'll call on each of you this time. So, Megan, you go first.
- [29:28]
F
I would say do it, because I feel like leverage was like, first of all, I felt like you were holding my hand going through it. I know a lot of people said that, and I would second that. Like, it felt very like before, there was just this nebulous idea of I'm an artist, and somehow that turns into money. I don't know how, but having somebody that was like, hey, no, really, here's how you can do it. And it's actually a lot easier than you think. It was like having the best, like, cheerleader. And then there was so much. There was.
- [29:57]
A
All the.
- [29:57]
F
Everything I needed was there. It's like it's massive toolbox, you know, that, like.
- [30:02]
A
And I go back.
- [30:03]
F
I always go back to all the. Like, I'm like, I need to dig into the contracts. Let me go look at what you talk about here. And what was the. You know, like, I keep coming back and referencing things over and over again whenever I'm, like, stumped on something. So my thing was that it was just like, everything you need and when you need it, because you can always come back to it when you need it. And so it's it was just very nice to feel like I had a friend helping me through finding the path, my own path, to where I wanted to go.
- [30:32]
A
I love that. Mabel, you go next.
- [30:35]
E
I. I don't think I've ever told you the story. I'm not sure if I did. But after I finished Leverage, so what blew me away was how many ways it was to make an income, because my bread and butters are, like, the same. I am deeply passionate in art licensing, and I always thought, like, okay, you like this artwork, and that's it. But you, lady, you've opened up this world to me. So what happened with one of these clients? I'll show you. I'll share an example is I was in this contract with this company, and it wasn't a great pay, but I'm like, all right, this is a great company to work with. And then I asked, is it possible to actually open up and wholesale account with you? And then negotiated it to a certain percentage so I would pay them, like, 30% of the. The price, the retail price of the product. 30%. And I get to resell these products that I license with them for the full price. So I. My Profit margin is 17%. So that's what I did. So I bought my products in my design from them, because they were manufacturing the products, and I bought them and I sold it on my website and to, like, I told, like, my Facebook friends and everything, and it sold out. It sold out. I got so much profit. And then whatever. Like. Like, I got more because, you know, why not? And then I managed to actually wholesale that. I mean, the profit margin was smaller, but because it was. I was buying it at 30, I still had a 20 margin to make a profit on wholesale. So there was, like, additional income for me. And then, you know, when I got on fabric, my fabric collection out with a fabric company, I started working with quilters to create, like, PDFs of the quilting patterns. And, like, that never occurred to me to do that. Like, how in the world, like, you could, like, so squeeze not just an artwork, but a licensing contract with a company and get so much out of it. It's like the juice gets coming, man. So that was my biggest takeaway from.
- [32:52]
A
That's. That makes me so excited. And I do talk a lot about that, because I think as artists and licensing artists, sometimes there's so much more available to us, possibility for creating income, just like Mabel did. And it's a lot more possible than you realize. Like, most of you guys who took the course, you probably didn't realize that you could try to negotiate with your licensing contract like that. Right. But that's why I give you the scoop inside of leverage. So, Tiffany, what was your biggest takeaway, and what would you say to someone who's on the fence?
- [33:21]
H
Well, I will say I'm a busy mom of three, and I homeschool my kids. And I think that this course has just showed me that I can make more money and do less. Because right now, honestly, I have more ideas than time. I just don't have the time to devote to creating the way I would like to. And so I think that this course is perfect for anyone who's making art in the fringes of their life and trying to figure out how they can be profitable and how they can be successful with a small, tiny amount of time. And so I think that this is the course that will help you do that.
- [34:00]
A
Oh, I love that.
- [34:01]
E
Thank you.
- [34:02]
A
Laura, you go next.
- [34:04]
B
Nice. I think, though, what I was going to say for the people on the fence was that if you're on the fence, the reality is you probably want to do it, but you're experiencing fear or, like, some, like, like, scared thoughts of, like, the what if. But I think the best slogan that's ever been created and I dropping a name brand, which I think I can do, face, but Nike's logo or brand just do it is, like, so true. And you can't not do something because you're scared, because growth and opportunity is on the other side of it. So if you're on the fence, do it. And now I remember what my biggest takeaway was. My biggest takeaway was that you can do it. Nikki reminded me, but you can do it. And, like, I am doing it, and it feels so great, like, it's. You can do it. You can make this work.
- [35:08]
E
I love that. Thanks.
- [35:10]
A
Elsa, you go next.
- [35:12]
D
Okay. So when I came across art licensing, I thought it was, like, this little secret, and I was like, well, first of all, it, like, blew my mind. I've been in design for, like, 20 years. Like, how did I not know this was a thing? So I feel like I was, like, keeping it, like, so close to my heart, like, nobody could know my secret. And, like, I felt like there was this tiny little pool of surface pattern designers, and I didn't want to tell anybody because they were going to come and steal my thunder. But watching your course, first of all, I was introduced to, like, so many artists that I had never heard of in a great way. And I was like, that's how they're making it work for them, and that's how they're making it work for them. And I was like, there actually isn't competition. And I think I am a competitive person by nature, and I live well. I don't live in a small city, but I feel like our design community is small. And I wanted. I always want an edge, you know, I always want to be something different. But I think what I've seen in leverage and just in this new creative community is that everybody's, like, taking what they can from it and what they want from it and, like, you know, using it for their own creative benefit and. But not in a bad way. Like, I really do feel like the community does make us all stronger. And also it. I feel like if nobody really knows what licensing is, if we all work together and we. Then we can all get paid fairly and we can all, like, you know, set a standard for payment and all that kind of stuff. So it really is. It's good for everybody to know what licensing is and what this whole world is. So I don't know if that's my aha moment or my takeaway or if they're on the fence, but I agree with Laura. It's like, if you're on the fence, you just, like, you just need to take one more little step. Because if you're on the fence, you obviously want to take it. It might not just be the right year for you, but, yeah, they're obviously interested in it. And there's not a reason to hold back. It's just you're going to regret it if a whole year passes and you're like, oh, think about how far you'd be just one year later. Like, if I look back to what I did one year ago, like, I had no idea. I had no idea this was possible. So one year, in just one year, a lot's possible, that's for sure.
- [37:07]
A
I. I often think about that, like, how much has happened in my life and in my business in the past year and the ideas that I haven't acted on for whatever reason. And then I think about the ones I did act on and what's. What fruit has, like, come from it. And so whether it's a course that you want to take or it's a product you want to develop or something in your portfolio that you want to bring to life, like, don't wait, you know, if you can go for it. And I'm a big believer in jumping in and kind of figuring figuring it out as you go. I'm a messy leaper. Hooten, who is an alumni. She. She and I were talking about this in an interview in the free mini course, the Artist side Hustle. We're both messy leapers, meaning we jump in even though we don't have it all figured out. And usually it's for the best because it's in the journey of learning that you actually kind of figure out what's right for you. And those learning lessons are actually, like, some of the best character development and business development that you'll ever have. So if you wait to have it all figured out, you're never going to start. That's just the truth. All right, let's do Shirley, and then we'll end with Ashley. Yeah.
- [38:09]
G
So I would say if you're on the fence, chances are, if you're listening to this, you have already invested in yourself and your business. And when I took leverage, my daughter was only eight months old. And I remember thinking, how am I going to find the time to do this? It felt like a lot of money at the time for me, and I just had to sit with myself. And really, this is going to get.
- [38:33]
D
A little deep here for a second.
- [38:35]
G
But I had to really think, I want this so badly. Why am I holding myself back? And I had to believe in what I could see for myself in the future. And I knew that taking leverage was going to take me that one step closer. And so I would say, for someone on the fence, you know, really sit with yourself. And why is it that you're interested in taking it? And why is it that you might feel like you're holding yourself back? If you are, obviously, we all have reasons for this might not be the right time for you. But as it's already been mentioned, I think you know what Kelsey was saying. I think you will look back and go, why didn't I take it? Because, you know, we. We have moments that I think in our life, we can really see that pivot and change happen. And for me, I can really look back and say taking leverage was one of those moments that I took a step forward and I said, no, like, I am going to take myself seriously and my business seriously and myself seriously as an artist and learn as much as I possibly can. And. And as Stacy likes to say, I bet on myself. So I would hope.
- [39:44]
E
I would hope that you do, too.
- [39:45]
B
It's an incredible course.
- [39:47]
A
I love that. And, Shirley, I have had a front row seat to watching, like, what's happened in your life. And it's so funny because, like, I Can't tell. I'm not going to tell your story, but I happen to know that you're busier now than you ever thought you would be. And it's the growing pains of whenever you actually get what you've always wanted, which is the growth opportunities, and then you're in the growth opportunities, and then it's like, oh, wow, I'm still got a lot to figure out on this journey. But you don't stop, you know, because once you start growing, you just don't want to stop growing. And that's what it's been so fun to watch with you, Shirley. So I love that.
- [40:19]
G
Thanks, Stacy.
- [40:20]
A
Love that. Ashley, let's wrap it up with you. What would you say?
- [40:24]
C
As I was listening to everyone, I started to get emotional because I realized that I come from a family of really, really creative women, like fantastic artists. My mom and my grandmother were both just so creative, but they also lived by the limiting belief that artists couldn't make money from being artists. You know, you couldn't survive in the world as an artist comfortably. And so I also grew up with that limiting belief. And so instead of going to art school, I went to graphic design school because I thought that was the way that I could still be an artist and I could make money, right? And so when I. When I stopped working, when I had my children to raise them for a couple years, and I dreaded going back into graphic design, and I was like, why do I not want to go back? Why do I not want to go back? And it was because I wasn't making art that lit me up. I wasn't passionate about any of the client work that I would make. I would make one thing, sell it to the person and be done with it, and have to start over for the next project, right? So I think when I took leverage, the permission to, like, put my own heart and my own talent and the tradition that had been passed down to me from my grandmother, from my mother, from everyone, to be able to let that shine as my own voice and my. My own story, I think and realize that I can actually make a living, like a really decent living from something that comes from my own heart and my own soul. Like, sorry, I'm going to cry, but it was like the most amazing thing. So just to be given that permission and to be have my eyes open to all these other amazing artists that I admire and know that, like, if they're doing it, then so can I and so can you. I can keep going on, but I'll stop there.
- [42:04]
D
But also.
- [42:05]
C
So the takeaway is the friendships that I have made in this community are one of the above. Everything else like that is one of the most important things to me that I've taken away from it too. Because you meet people that have the same passions. They're. They're looking for similar paths. And you can lift each other up and you can share and you can, you know, you can have hard days together and you can have fantastic days together. And in the hard days, the other person that you're friends with is probably going through a fantastic day, and they can lift you through those times. Right. So it's just a give and take, and it's.
- [42:40]
A
It's.
- [42:40]
C
It's just changed everything. I. I don't know. That's it.
- [42:43]
A
Oh, my gosh. Well, that's a wonderful place to leave it, because the truth is, you come in wanting to learn about your business and grow your business, but you leave with a community of people that, honestly, I feel like I'm going to know you all for the rest of my life. I don't know. Wild to say. Like, I feel like you build these relationships with people and yes, let's all cry. Like, that's all cry because it's so much more than that. And I think that that's something that people often are craving. They're craving community and connection. And I remember what it was like to be an artist working in isolation when my babies were little and not knowing how to reach out and feeling like my local creative community was really, like, competitive and like there was no place for me. And then what's weird is that's where the Internet has been the biggest gift, because some of my closest friends are people that I've only either hugged them once or I hope to hug them once at some point. But, like, it's. That's just the truth. And so I think that's what ties it all up in a nice little bow. You learn so much and you walk away with so much. And I'm. I'm just thankful every day that I get to lead this. Like, this is part of my story, and I'm so thankful for that. So, anywho, thank you all for being here with me today. And I hope that if you're on the fence about leverage your art, I mean, you could reach out to any of the women here, could reach out to us, because I think we'd all be happy to answer your questions. I know I would. And so I really want you to go into it not with the intention of. I'M going to peek and run. I want you to go into it with the intention of I'm going to actually put down some roots here and I'm going to just go deep into this, into this creative business industry. So yeah, that's where we'll leave it. Thank you so much for being here, guys. Thanks so much for tuning in. Hey, could you do me a favor? Could you subscribe to this podcast and then share it with one of your best art friends? I'd really appreciate it. And then head on over to Instagram and follow me at the Leverage your art account and you can keep up with all of our future episodes. Episodes. Thank you so much for your support. It means everything to have you here. Listening and learning. Bye.
- [44:45]
I
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