Where are illustrators and surface pattern designers of African ancestry licencing their work?
Beginnings
I start by confessing that in as much as I shall speak for myself I also echo what I assume is a mirrored experience for most African illustrators and surface pattern designers who are interested in making a mark in the textile and fashion global market.
For the past 10 months or so, I dipped my feet in the surface pattern design space. Bushy-tailed. Doe-eyed, ready to take on the world. Or so I thought.
I opened an experimental social media account (then called @teresa_kilasiku, now @nanjaladesign) diligently cataloging my daily work which began as quick freehand drawings from nature. I knew I had to start there as it had been years since I had held a pencil and ink pen to draw or sketch. Before then, for the longest time, my main mode of creating information had always been dominated by the use of the MacBook keyboard.
So carefully, I began to curate my illustration on social media. For each post, I journaled, stating the time it took to draw the illustration, paper type, pen type/brand, digital tools I used to reproduce the sketches into digital formats and even a little educational information about the composition. As I went along, I enjoyed the solitary drawing sessions. The free-flow expressions of floral or botanical compositions in sketches and outlined forms. At times, I would draw from observation, and at other times from a photograph.
During this time, it was a period of self-reflection. As you may imagine, I had been used to a busy schedule (15 work hours a day wasn’t uncommon) and wasn’t familiar with the slow-paced and ‘emptiness’ that comes with staying at home. It was also some form of therapy, as I reflected on what my next phase of life would be like. A past-time — something to fill the days and silence.
Exploration
Gradually as I perfected my craft, enjoying my own company, I started producing quality work. I studied educational material about Surface Pattern design, art licencing, and developed an interest in submitting my work on common and notable platforms. I must say that I was a little naive and went about it with huge optimism of ‘making it big’. My idea of exploration was to submit my pattern designs (they were few since I was new to surface pattern design) to every single platform that I admired.
I submitted to Spoonflower, PatternBank (received a regret after a couple of days — I suppose it was due to their tough and rigorous vetting process), Society6, and Surface Pattern Marketplace (Stripe isnt a convenient payment platform) even went as far as becoming a contributor on Shutterstock. I also applied to Getty Images and though I was interested in being given a seat at the Getty Images ‘table’, I was offered a seat at iStock. A lot of controversy and concerns about the switch (and compensation) on iStock vs Getty are well documented here. To be honest, I share in the concerns that are posed by the contributors on Quora, one feels like their artwork is ‘belittled’ by being pushed into the iStock image bank. A remedy would be for Getty Images to email the designer, requesting them if they would like to ‘opt in’ iStock’s image bank rather than just ‘implant’ them there without fair notification that this is what would happen.
Another challenge I’ve encountered is on Spoonflower. In as much as Spoonflower is considered one of the best surface pattern design platforms for surface pattern designers, it’s a challenge for Africans (and foreign designers) to complete their account details to sell their designs on their platform. They claim they have a simple process — that all a designer should do is upload their design, purchase a proof swatch to make a sale. What one doesn’t know is that it’s the very last step that is a challenge. Spoonflower required all designers to fill out their USA Department of the Treasury Internal Revenue Service (withholding tax and reporting) forms; which frankly is a document loaded with complexity and legal jargon making it impossible for any foreign lawyer to understand let alone the creative applying on the platform.
Why would a surface pattern design ‘print on demand’ brand that has a global network make it so difficult for African and foreigners from selling on their platform? It beats the purpose to insinuate that the process for signup and activation is simple then add a requirement that is mind-boggling for the average non-American to complete! Moreover, designers go the extra mile to purchase their swatches (which is a great thing as it mitigates print quality issues), wait patiently for a few days/weeks to receive their swatch parcel only to encounter the final step of filling difficult forms. My recommendation would be to send a prefilled document that the designers can sign in order for their accounts to be activated quickly and painlessly. As it stands, (despite receiving my lovely swatches) my account on Spoonflower is inactive because of this challenge. Efforts to get an American lawyer to look into these documents have proven to be futile. I’m still waiting on them to figure the forms out.
On a positive note, I must say that in the last few months I have received some joy in seeing some of my ContradoUK work purchased by friends and family who support my work. I recently discovered this premium brand and they have been nothing but wonderful. What I love most is their stand on sustainably made products. All I wish for is that they would negotiate lower prices for shipping to these parts of the world. Their shipping costs are substantial. So much so, I have only been able to purchase only one item (my fabulous Alstroemeria flourishing flowers sunglasses) with my design from them. However, mad respect for the British pound!
Conclusion (we start at the beginning)
Pray to tell, where are illustrators and surface pattern designers of African ancestry and origin licencing their work? Am I missing something?
We (Africans) too want to play in the global market and are looking for partners who understand our economies and socio-cultural contexts. All we are asking for is a fair chance to get a seat at the table.
Asante. Thank you.
