Suzanne has very kindly allowed me to interview her for my blog. 
Suzanne Cruise, an accomplished artist and former staff illustrator at Hallmark Cards, Inc., founded Cruise Creative in 1990. A respected veteran and trade show speaker in the design industry, Cruise led her company to become one of the top licensing agencies in the country. Cruise Creative proudly represents top-selling artists, licensing their work to industry leaders across many product categories.
Cruise Creative industry partners include manufacturers of products such as giftware and table top, home furnishings, home décor, paper products and greeting cards, fabric and textiles, flags and mats, and more.
Over the course of her career, Cruise has developed a vast network of contacts and works actively to develop new resources. She says, “I’m committed to maintaining high standards for my artists while working successfully with industry leaders through strong, personal relationships.”
Artists who work with Cruise appreciate that she thoroughly understands the creative process, changing marketplace, design trends and clients’ requirements. “I can art direct my artists so they are better able to develop successful lines for my manufacturers,” Cruise says. “Having worked on the boards for many years as an artist, I know what it takes to succeed.”
Cruise’s ability to align commercial opportunities for artists’ work with the needs of manufacturers makes her boutique agency a leader in the industry. Licensees commend her dedication to their success as well as their deadlines.
Suzanne understands the importance of matching the right artist to the right licensee, says Susan January, VP Licensing, Leanin’ Tree. She has invested in making sure she has the right artwork that meets our needs. She’s honest in providing art direction. That’s important to us, so that we have the product that is right for our retailers. In short, we have a lot of confidence in her abilities.
Jeffrey Grinspan, a former vice president and director of licensing for Sakura, a division of Oneida, Ltd., was also delighted with his Cruise agency experience. He was impressed by Cruise’s focus, knowledge of the licensing business, and willingness to listen, as well as her clear and concise style, articulate presentation and supportive point of view.
“Suzanne has that rare ability to see the licensing business from both side, Grinspan says, [She is] respectful of the artistic integrity of designers who have set sail in the ocean of licensing, but fully committed to navigating the choppy waters inhabited by manufacturers to help both parties eventually reach solid ground.”
Cruise believes it is critical to give back to the creative community. “I know this business from their side,” she says. “I will help artists in whatever way I can because I know how difficult a successful art licensing career can be.”
In that spirit, Cruise shares her knowledge as a highly sought-after featured speaker at the Surtex and Licensing Shows, as well as the CHA Show. Because she is intimately knowledgeable of the complexity of licensing, she is able to convey this knowledge in presentations to industry newcomers and veterans.
She also has shared her expertise and insights with numerous design groups, such as The Society of Children’s Book Writers and Illustrators (SCBWI), The Paisley Group, and the Society of Creative Designers (SCD). In addition, Cruise has judged portfolios at seminars and shows nationwide – an invitation extended to a chosen few.
“I love helping and working with artists,” says Cruise. “As an artist’s agent, I can’t imagine doing anything else.”
http://www.cruisecreative.com/index.html
LGR: What made you decide to become an art licensing agent?
I was an illustrator at Hallmark cards for a few years, then quit and freelanced for several more. I burned out in 1990, knew I was pretty good at the biz side of what I was doing, knew that there was no one repping all the product people who were out there. I put the word out that I would carry books for people and 25 people sent me their portfolios in little over 2 days. In less than a year I was working w/ over 150 freelancers. I fell into a terrific licensing offer a couple years later. Little by little, all I offered was art for licensing purposes only.
LGR: What part of the business do you enjoy the most?
Really I love all of it. Maybe closing a deal and then telling the artist we scored. I love doing all of what I do, though.
LGR: What do you look for in an artist before signing them?
Style, subject matter, perspective, color palette, timeliness of the art and a personal disposition that is professional.
LGR: Where do you find most of the artist’s you sign ? Do you look for artist’s yourself or do you find most of your artists from them submitting art to you?
Many come to me, but I do find them out there, as well. Since I have been in it so long, and I am very artists friendly, my name does get passed around!!!
LGR: What do you feel is the biggest failing of artists when they submit work to your agency?
Not really doing their homework to OBJECTIVELY see how their work is designed versus what is out there. I get a lot of bad art which no longer surprises me. Artists must go to the stores (Hallmark, Target, Home Goods, etc.) and research, research, research. Buy cards/bags/ whatever that you like that you feel the art may be similar to your work. Take these items home and really look long and hard at what you bought compared to what you created. The level of art competition any more is incredible. It is no longer enough to do a “pretty picture”.
LGR: How many collections and how many pieces in a collection do you think an artist should have before they submit to an agency? Or do you look more for individual pieces of art as opposed to collections?
That is a bit like asking how high is up, but, in general, artists need to have at least 50 (or more) good pieces to be a viable licensing candidate. As far as collections, the art still needs an anchor piece, from there can come all the coordinates or companion collection pieces. How many that are needed again depends on the product it may be potentially licensed onto.
As far as individual pieces versus collections, that depends on the style and subject matter of the art. Someone who does beautiful scenes, or wildlife, or nature images, for example, is not probably going to have (or need to do) companion pieces.
An exception is the category the art may be intended for. Wall art, for example, you would want 2/4 pieces that “hang together” as a collection no matter what the subject matter and style may be.
LGR: Is there one type of manufacture you prefer working with or is one type easier then the other?
No, it is the people I have to interact with who make the difference, no matter what the category is. Most of my licensing contacts are marvelous and professional people, but as in life, I work w/ a few people who probably should be in some other line of work.
LGR: Do you find it easier to work with manufactures that have their own artists, or the person that makes the decisions are artists themselves?
If the company has their own artists, often time they are graphic support artists. These people take the art and format it into whatever the company needs to successfully get that art on the product. Some companies do have their own in house staff, these companies often do little or no licensing. It is a rare thing for me to be fortunate enough to work w/ a licensing person who is or was a “real” artist. If I had a dollar for every art directors job I have done over my years in this biz, I would be writing this from a beach in some warm climate while holding a foofy drink w/ an umbrella stuck in it……or better still, a single malt scotch…
LGR: When you submit artwork to a manufacture how long does it usually take them to make a decision? Do you think as an established agency you get faster response than an individual that submits to the same manufacture?
Again it depends on the product and the retail environment, to some degree. Some manufacturers are very organized, they review certain art at certain times so we know what to send them and when. Their decisions come in anywhere from right away to within the time frame they are reviewing in. Some companies have to get the buyers to sign on before they will commit to a deal, that can take a few weeks to several months. I cannot say I can always get a faster response, but this is the best advice I can give you on this: structure your manufacturing relationships in such a way as to be a true partner, glean all the knowledge you can about the array of needs the clients always have, give them a fast turn around time, and you make the deal happen w’ as much ease as you can muster, the clients will often come to me (or you) first looking for work.
LGR: If you had not become an art licensing agent, what other career would you have chosen?
A celebrity chef! With well over 400 cook books, cooking is my passion (next to being an agent)! People have encouraged me to blog or do you tube videos on how to cook stuff !!! I had no idea how many people cannot cook a decent turkey much less make the gravy to go with it!
