Getting started:
What’s involved?
Products that use Aboriginal and Torres Strait Islander art and design can create income and other benefits — for artists, their families, art centres, and for the businesses that help make and sell the products.
Making a product means planning every step carefully, from choosing materials right through to getting the finished product to the customer. Artists and art centres need to think about who will help make the product, what’s needed to get started, and how the product will be shared or sold.
Next step is defining how the product can be made, what size it will be and what it’s going to be made of. Not every artwork suits every product, so test what works best and don’t forget to check if family or community permissions are needed around the story being used.
To get the most benefit for artists and art centres, product development and licensing need to be carefully thought out and planned in a respectful and culturally safe way.
Step 1: Product design and development
What product is being made, and why? Artists and Art Centres should decide what product they want to create and understand why it’s important. Knowing the ‘why’ is essential, as it helps engage the public effectively.
Business case: If an artist or art centre wants to launch a new product, a business case will outline how much it will cost, how much profit it could make, and why customers might want it.
Market trends and competitors: Research the market and trends to see if there’s demand for the product. Look at competitors to understand what makes the product unique.
Design inspirations: Develop ideas for the product, including size, material, packaging and type. Collecting examples and references can support and inspire the design process.
Tech pack: Artists and art centres can work with manufacturers or a designer to develop a tech pack containing detailed technical specifications for the product.
Production Plan: Create a comprehensive plan for the production process. Creating a schedule or visual sequence can be a useful way to map out production timelines.
Product launch and promotion: Plan how to introduce the product to the market.
Step 2: Choosing an artist and artwork
Select an artist: Art centres should collaborate with artists to determine which artist’s work will be suitable for the product. Think about the story and aesthetic and talk to the artist about how their artwork will be reproduced on the product. In addition, art centres should provide opportunities for artists to develop the necessary skills for product development.
Artists should consider which of their artworks would be appropriate. Look at existing products to understand their look, feel, usability and function.
Pick the right image: Consider factors such as repeat patterns, colour limitations, weave and figuration. The quality of the image is also critical to achieving the best possible outcome – high resolution scans of artwork at 300DPI (dots per inch) or professional photography will ensure the artwork reproduces clearly and accurately in production.
Understand material and process: Certain materials might not capture fine details, and some manufacturing processes have colour restrictions. Check the restrictions with the manufacturer and work with a designer to adapt your artwork to suit.
Consultation with artists
Talking with the artist and their family is something that should start early in the process, and, depending on the scale of the product or licence, may need to continue throughout the life of the project.
This is the opportunity for the artist to give – or withhold – their informed and prior consent. Is the artist happy to have their artwork reproduced on a product? Important things to consider include:
Financial arrangements: Level and type of payments anticipated.
Creative arrangements: How will the image be used? Arrange for a sample for approval before printing/manufacturing.
Other benefits: Any additional benefits to the artist, art centre, or community?
Presentation: How will the product be presented? How will the artist’s image, story or information be shared?
Cultural considerations: Are there any cultural sensitivities? Does the art centre need permissions beyond the artist? Is there a need to consult with the art centre board or community Elders?
ICIP acknowledgment: How is Indigenous Cultural and Intellectual Property acknowledged?
Consistency check: Does the art centre need to check for consistency against a strategy/protocol?
Copyright licensing
To ethically and transparently reproduce an artwork on products, a written copyright licence is necessary.
Copyright is automatically created when an artist makes an artwork, giving them rights to copy and use it, or allow others to do so. Licensing means the artist gives permission to someone (a person or business) to use their artwork on a product. This doesn’t mean the person or business owns the original artwork.
A good licence sets out rules on how the artwork can be used and what fee will be paid. A poor licence gives permission without payment or control over the artwork’s use. When done properly, licensing of Aboriginal and Torres Strait Islander artworks is fair, productive and beneficial for all involved.
Step 3: Identifying manufacturers
Find manufacturers: Start by identifying possible manufacturers and discussing minimum orders and pricing. Look at manufacturers already known or ones that other art centres have worked with. Consider suppliers that align with the artists and art centre’s ethics and principles.
What is needed? Consider what the artist or art centre requires in a manufacturer. Are they based in Australia or overseas? Do they offer products that match the standard needed, including technical requirements, material sourcing, and overall quality?
Consider requirements: Check if there are any social, cultural, or environmental requirements. For example, artists and art centres might prefer to work with a social enterprise or utilise sustainable materials and packaging.
Clarify responsibilities: Be clear on who is responsible for different aspects, such as transport, door-to-door delivery and product insurance. These responsibilities should be clearly outlined in the manufacturing contract to avoid misunderstandings and ensure that all parties are legally accountable for their roles.
Step 4: Understanding manufacturer requirements
Materials: Consider the materials needed, like fabric, wood, or plastic. Work with the manufacturer to develop and confirm the materials and their quality in a tech pack.
Packaging and Labelling: Think about how the product will be packaged. This is important for both presentation and protection during shipping. It’s also important to review any information that is legally required on the packaging or labelling, such as where the product was made and what it is made from.
Time frames: Understand the time frames involved. How long will it take to produce a mock-up for approval? Once the mock-up is approved, how long will it take to make a prototype (a sample that the artist and art centre will have the opportunity to approve before full production begins)?
Process: Know the step-by-step process for approving the mock-up.
- The artist should approve the mock-up before the prototype is made.
- The manufacturer might need a physical address to send the prototype to before it’s made.
- Be aware of any events or times that might slow down the process, like the art centre shutting down over Christmas.
Additional services: Check if the manufacturer offers extra services that could help, such as:
- Designing the product and creating the tech pack.
- Providing storage and distribution services.
- Offering retail, packing, and tracking services.
Step 4: Prototype production
Confirm mock-up: Ensure the mock-up is acceptable to both the artist and the art centre. This is the first step in making sure the product meets everyone’s expectations.
Request prototype: Ask the supplier to produce a prototype and deliver it to the art centre. At this stage, consider getting advice on Indigenous Intellectual Cultural Property (ICIP) and trademark protection. <internal link to ‘further reading’>
Review prototype: Review the prototype (product sample) and confirm it is acceptable to both the artist and the art centre. Gather feedback on the prototype to make sure it meets the art centre’s and artist’s requirements. It is important to keep the prototype sample as this is what the bulk production should match.
Decision on prototype: If the art centre and artist are not happy with the prototype, then a re-sample may be requested. If it is acceptable, go ahead with placing the order. The supplier will then manufacture and deliver the confirmed order. Before signing any contracts, have them prepared or reviewed by legal experts, like Copyright or Arts Law Centre for Australia.
Step 5: Managing product storage and distribution
Storage Space: Decide where the product will be stored. Does the art centre have enough space? Will the product need to be stored somewhere else? Consider the amount of stock and how it will be delivered.
Stock management system: An online system like SAM (stories, art, money) should be in place to manage stock. Think about the size of pallets or cartons, as pick and pack stock are done from shelving. (Pick and pack refers to when products are picked from warehouse shelves and packed into boxes or cartons for shipping.)
Manufacturer’s role: Some manufacturers might store and deliver orders as needed. It should be determined whether the warehouse will be required to unload shipping containers or if the stock will arrive another way. Some offshore manufacturers deliver only to the port in their own country, after which the responsibility for arranging delivery of the stock shifts to the artists and art centres.
Clarify responsibilities: Be clear on who is responsible for each step in the process. Transportation may need to be arranged from the supplier to the warehouse. Determine how many orders per day or week need to be picked, packed and delivered.
Order size: Consider the average size of daily or weekly orders. Retail deliveries are best done with a smaller vehicle if possible.
Delivery weight: Determine the weight of stock for deliveries. The weight of products is needed for sending out online orders.
Additional services: A third party might be needed to house and distribute the product to both the art centre and buyers, which could add extra costs. It should be determined whether the warehouse will be required to package individual items before distribution. Some items come in bulk and can be distributed as they are or individually packaged.
Step 6: Deciding where to sell your product
Sales options: Decide where the artist and art centre want to sell the product.
- Art centre shop
- Art centre website
- Other websites
- Retail outlets (e.g., art gallery shops, visitor centres)
Website management: Work out who will manage the website to ensure smooth operations between sales and distribution.