Business Start-up Guide for Designers and Makers 2005

The Design Trust41 Commercial Road, London E1 1LA

T. 020 7320 2895F. 020 7320 2889

E. info@thedesigntrust.co.ukThe Design Trust is a registered charity no. 1041444

Registered in England no. 2973112

Front cover images (left to right from top)table ‘Three Times Table’ CATO

wall panel ‘Undulating Wall’ Louise Watsonbowls ‘Solas Coinneal’ CJ O’Neill

textiles ‘Sand and Water’ Jan Garsidehairpiece ‘Steel Roses’ Blush Designs

table ‘3VP’ Stephen Richardstextiles ‘Project 1’ Ismini Samanidou

pendant ‘Small Paper Porcelain Pendant’ Diffusecushion ‘Raised Circle’ Anne Kyyro Quinn

modular shelving ‘Loop the Cube’ Andrew Tyeimages taken from www.designnation.co.uk

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Contents

Contents

Introduction 2

Partners 3

Supporters 5

Contributors 6

1. Have you Got What it Takes? 10

2. First Steps 12

3. Preliminary Market Research 14

4. Your Business Plan 16

5. Financing your Business 17

6. Premises 20

7. Costing your Products and Services 22

8. Pricing your Products and Services 26

9. Protecting your Designs 28

10. Contracts and Licensing 31

11. Marketing 33

12. Negotiating Skills 36

13. Exporting 38

14. Working with Agents and Distributors 40

15. Getting your Work Manufactured 42

16. Dealing with Buyers and Galleries 45

17. Preparing for an Exhibition 48

18. Presenting your Work 51

19. Writing a Press Release 54

20. Working as a Design Consultant 56

21. Creating a Website 58

22. E-commerce and the Law 60

23. Tax 61

24. Continuing Professional Development 64

25. Information Resources 66

26. Further Reading 80

Partners

Crafts Councilin association with theEsmée Fairbairn Foundation

University of Central England -Birmingham Institute of Art & Design

Surrey Institute of Art & Design,University College

Design Factory

Northumbria UniversitySchool of Design

Supporters

The Haberdashers Company

The Design Trust gratefully acknowledges the help given by the following:

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Partners

2

Introduction

Introduction The Business Start-up Guide for Designers

and Makers 2005 represents a major updating.

In its two previous editions the Guide has been widely used by would-be designers and

designer-makers and also by the universitieswhere designers are trained. The Guide is

aimed specifically at designers who want to start their own business but find the prospect

daunting. It covers the main topics that a fledgling business must address and provides

continuous signposting to business supportagencies and services. It is also an information

resource that lists useful websites and publications. It forms the core of The

Design Trust’s educational website, www.thedesigntrust.co.uk.

The Guide should be read in conjunction withThe Design Trust newsletter, which contains

topical information about business support fordesigners and is published bi-monthly. If youwant to be notified of newsletters as they go

online, go to www.thedesigntrust.co.uk to sign up; there is no charge.

Many students do not realise until they have left university that to be successful they need tohave some understanding of the business and

professional aspects of design. Without this,they will not know who is likely to buy their work

or to employ their services as a designer. ThisGuide, which is based on The Design Trust’s

‘Getting Started’ seminars, is intended to helpyou answer these questions by introducing

you to some of the essentials that you need in order to get started.

The Guide also looks to the medium term of thecreative business in its chapter on professionaldevelopment schemes. These schemes are runby organisations which address the specificissues that face design-led businesses – businesses that have the dual targets of creativeand of commercial success.

Over the years, many people have contributedto our training seminars. The Guide enables usto share with you the business advice given by industry professionals at those seminars.Although the Guide does not provide all theanswers, we urge you to use it to improve yourunderstanding of what is involved in starting up a design business or working on a freelancebasis. The Guide will help you to ask the rightquestions and will direct you to further information provided by relevant training and professional organisations, websites and publications.

For the most part, contributions have beenreproduced substantially in their original form,without significant editing. As a result, the various chapters can be used largely independently of each other, but inevitably there are some overlaps.

This edition of the Guide, unlike either of itspredecessors, is the result of a partnershipbetween The Design Trust and other organisations. For this edition our partners have been the Crafts Council, Design Factory,Northumbria University School of Design, SurreyInstitute of Art & Design University College andUniversity of Central England – BirminghamInstitute of Art and Design. Each of them hascontributed to the Guide, both financially and inexpertise and experience, and we gratefullyacknowledge our debt to them.

Our other generous supporters have been The Worshipful Company of Haberdashers and Arts Council England.

I would like to pay a warm tribute to DianaWoolf, this year’s Editor, and Kati Price, theEditorial Assistant. Both of them have worked to tight deadlines and without them this Guidewould never have seen the light of day. Theyhave also been a pleasure to work with. Finally,Rachel Moses, our Marketing Manager, hasgiven a great deal of practical support andadvice while the Guide was being prepared,and our grateful thanks go to her also.

Peta Levi, MBEDirector, The Design Trust

Copyright

Copyright is reserved by The Design Trust and this material may not be reproduced, transmitted inany form, electronic or mechanical including photocopying, or published in whole or in part withoutthe written consent of The Design Trust. However,designers and makers considering business start-upmay reproduce any part of the text without charge forthe limited purpose of use in their business.

Disclaimer

The views expressed in this Guide do not necessarily represent the views of The Design Trust. No responsibility for loss occasioned to any person by acting or refraining from action in reliance on the Guide can be accepted by contributors, The Design Trust or its partners.

PartnersThe Design Trust’s partners in

this revised edition of the BusinessStart-up Guide for Designers and

Makers 2005 are:

Crafts Council

Design Factory

Northumbria University School of Design

Surrey Institute of Art & Design, University College

University of Central England -Birmingham Institute of Art and Design

Crafts CouncilThe Crafts Council, supported by the Esmée Fairbairn Foundation, is a partner with The Design Trust in this revised edition of the Business Start-up Guide for Designers and Makers 2005.

The Crafts Council was set up in 1972 to support and promote the work of contemporarycrafts. It is an independent organisation fundedby Arts Council England and provides servicesto craftspeople and the public.

Over the last 32 years the Crafts Council hasdirectly supported 1,300 designer-makersthrough the Crafts Council Development Award(previously the Setting Up Scheme). Morerecently, 34 graduates have launched successful practices through Next Move, theCrafts Council’s newest grant scheme, workingin partnership with further education colleges.

Many others have enjoyed success throughChelsea Crafts Fair ® and through COLLECT ®(the international art fair for objects), both annualevents presented by the Crafts Council. In addition, the Crafts Council assists makers toexplore the international market through mis-sions to SOFA Chicago and Japan. Designer-makers’ work can be seen at the Crafts CouncilGallery shop. The shop offers a changing dis-play of craftwork for the casual buyer and theserious collector as well as specialist books andmagazines. Works by leading makers can alsobe accessed through the Crafts CouncilCollection, which now totals over 1,400 objectsand is a unique resource of contemporary craftgiven the significance, range and quality of workacquired. The Collection captures the leadingedge of practice across all craft media in the lastthree decades. A changing selection of workfrom the collection can be seen in Making It Yours at the Crafts Council.

The Crafts Council endeavours to bring the leading edge of practice across all craftmedia into its exhibition programme. Sometimesthis can challenge preconceptions about what‘craft’ is, breaking down boundaries as well asbringing international work and ideas into theUK. To ensure that the maximum benefits aredrawn from these exhibitions the Crafts Councilruns an education programme alongside eachexhibition that promotes awareness of crafts in education through lectures, seminars and workshops.

Photostore ®, the Crafts Council’s digital database of selected makers, holds 50,000images of a wide range of makers. This is nowonline, providing a unique research facility(www.photostore.org.uk).

Up-to-date news on Crafts Council events andactivities can be found on its website www.craftscouncil.org.uk.

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Partners

Surrey Institute of Art & Design,University CollegeThe Creative Enterprise Initiative - supportingcreative practitioners in the South East

The Creative Enterprise Initiative (CEI) is part of the Business Development Unit at the SurreyInstitute of Art & Design University College. It offers support to creative graduates and entrepreneurs who are developing, or have recently started, a creative business.

The CEI website provides a forum for creativeprofessionals to access information relevant tobusiness start-up. This includes a directory ofrelevant links, start-up information and an events page.

Creative Business Start-up Workshops areorganised throughout the year to offer practicalspecialist advice and guidance on businessplanning, pricing, marketing, IPR and other skillsrequired in developing and sustaining a creativebusiness. Workshops are open to all creativeentrepreneurs living and working in the South East.

The Creative Business Resource Centre offersindividuals in the South East the opportunity tomeet creative business specialists in order todiscuss and develop business ideas. Theresource centre also offers bookable spaceswith computer access and online information in order to help businesses develop.Contact: cei.info@surrart.ac.uk;www.surrart.ac.uk/cei

Design FactoryShaping the future of craft and design in the East Midlands

Design Factory is an organisation committed to supporting the development and growth ofdesigner-makers and manufacturers in the East Midlands. Providing a collective voice associated with high quality and innovation, itchampions designer-makers and manufacturersand provides a platform showcasing the creativetalent that thrives in the region. Its website promotes a selected and exciting collection of products and offers a central, valuable information resource for the regional craft and design sector.

Design Factory provides a place for businesses to meet, share and collaborate and be part of the region’s creative sector. Itsupports the long-term development of creativebusinesses and provides a programme of marketing and business development supportfor both designer-makers and manufacturers. It works to create new opportunities and facilitate collaboration, and ultimately innovateand encourage the commercial growth of new and established businesses.

The Design Factory programme includes: collective national marketing and promotion to UK consumers and buyers; national and regional retail opportunities; design and manufacture projects; new order and commission opportunities; regional and national exhibition showcases; access to funding; market development opportunities; networking and training events/seminars; website promotion; international market development opportunities; business mentoring and support.

From graduates to new start-ups and fully established businesses, Design Factory offersthree levels of membership tailored to supportdesigners-makers and manufacturers at whatever stage of development.

Design Factory works in partnership with many organisations to provide more opportunities for creative businesses in the EastMidlands. The Business Start-up Guide forDesigners and Makers 2005 is a thorough andfundamental resource providing vital informationfor anyone looking to start as a designer-maker.Design Factory is proud to be a partner andsponsor of the Guide.www.designfactory.org.uk

Northumbria University School of DesignThe School of Design at Northumbria University has an enviable reputation for producing innovative and highly creative designers who go on to make directional contributions within the international design and business arena. It has developed a sophisticated understanding of the professional practice of design, which consistently produces very talented and successful designers

Its programmes are designed to meet thechanging needs of industry and to respond tonew developments in market trends and areasof study. It currently offers three- and four-yearhonours degrees, completion degrees and postgraduate programmes of study.

The School of Design’s philosophy is to create a learning environment that nurtures innovationand originality. A range of different programmesmirror the disciplines of the design professionsto give students a perspective on their futurerole in relation to other designers. The Schoolaims to support student creativity with appropriate practical and intellectual skills.

The School welcomes talented and self-motivated individuals, guiding them through the technical, intellectual and criticaldemands of their chosen discipline whileencouraging independent thought and personal growth. It believes that its graduates have a strategic role to play in setting the design agendas that shape our future.http://northumbria.ac.uk/sd/academic/scd/

Supporters

Arts Council EnglandArts Council England is the national development agency for the arts. It providesgrants for the arts, including funding from the National Lottery.

It aims to create opportunities for people toexperience and take part in life-changing artisticexperiences and provides financial backing toenable people to enjoy, participate in and bestimulated by a wide range of arts activities. It aims to ensure that the highest possible standards of arts activities are available andbelieves that being involved in the arts can have a lasting and transforming effect on manyaspects of people’s lives. Grants are availablefor individuals, arts organisations, communityand youth groups and other people who use the arts as part of their work.www.artscouncil.org.uk

The Worshipful Company ofHaberdashersThe Company was founded in the 14th Century and is one of the ‘Great Twelve’ LiveryCompanies of the City of London. Besides being closely involved with its ten schools, it has a strong tradition of support for charitablecauses. Help has been provided from theHaberdashers’ Benevolent Fund, one of whose aims is to help young people start their own businesses.www.haberdashers.co.uk

University of Central England -Birmingham Institute of Art and DesignThe University of Central England (UCE) inBirmingham has over 20,000 students acrossthe region and champions a strong communityfocus linking industry, the professions and localpeople to educational opportunities. A key focusof the University is to support the city and theregion to become a knowledge-based economywith an emphasis on design, working within thegrain of Birmingham as a city of 1,000 trades.

The Birmingham Institute of Art and Design(BIAD) within the University has a leading reputation for research and for supportingdesigners across the region. This supportranges across sectors from fashion to textiles,jewellery, screen-based media and fine art.

To support its mission, UCE Birmingham has awide range of resources located throughout thecity, ranging from the UK’s first purpose-built artschool in the Victorian heart of the city to theTechnology and Innovation Centre (Tic) inMillennium Point. Recent developments havebeen in the jewellery quarter and in Eastside,where UCE has established a Screen MediaLab in the Custard Factory in support of enterprise in new media. In particular, a number of initiatives are planned to provide specific input for freelancers to develop a creative idea into a business plan and to then be enabled to make the next steps. Business skills development and showcasing opportunities are planned with a strong element of mentoring support throughout this approach.Contact: steve.harding@uce.ac.uk

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Contributors

Ed Barber

Ed Barber is a photographic artist specialising in portraiture. His work has been published and exhibited worldwide, including a one-manshow, In the City, at the National Portrait Galleryin 2001. For over 20 years he has photographedartists, makers and their work. He is now CourseDirector of the new BA (Hons) FashionPhotography at the London College of Fashion.Contact: Edbarberimages@aol.com

David Clarke

In 1997 David Clarke attended the RoyalCollege of Art, specialising in the production ofdomestic silverware. He then set up as a studiopractitioner, exporting work throughout Europe,USA and Hong Kong. In 1998 he was awardeda Diploma of Excellence for Silversmithing inMunich. He is currently short-listed for TheJerwood Prize for Metal 2005.Contact: info@davidclarke.net

DesignGAP

Shirley Frost set up DesignGAP in 1980. Theconcept was based on her experience andneeds in her micro-business as an artist anddesigner. Over the years she has helped over2,000 selected artists and designers and hasrecently received an award for ‘her major contribution to the Giftware industry’.Contact: www.design-gap.co.uk;www.DesignMixWestMidlands.co.uk

The Devon Guild of Craftsmen

The leading contemporary crafts organisation inthe South West reaches its 50th anniversary witha £1 million refurbished gallery, craft shop andcafé, exhibition opportunities, large retail space,professional development, marketing opportuni-ties, workshops and events. Membership isopen to working craftspeople from the SouthWest, west of a line from Bristol to Southampton.Contact: www.crafts.org.uk

Fiona Elliott

Fiona Elliott has headed Elliott Associates, a creative consultancy specialising since 1992 in product design, development and buyingwithin the homeware, gift and lighting markets. The consultancy has worked with a variety of companies, including Wedgwood, Ocean,Kenneth Turner, Bhs, Oxfam, Homebase andHouse of Fraser. She has also conducted seminars on retail buying and marketing.Contact: fiona@elliottassociates.biz

Michael Goldsmid

Michael Goldsmid, an agent for 15 years, sellsranges of contemporary furniture to higher-endretail outlets throughout the UK. Recently he hasalso been a consultant to The Isos Collection,developed by Furniture Works (part of LondonMetropolitan University) and Furniture Link (part of the government-sponsored Business Link organisation).Contact: michaelgoldsmid@beeb.net

Hidden Art

Hidden Art is a membership organisation that supports and promotes designer-makers,while offering companies and members of thepublic access to original design. Its aim is toimprove access to information, enable theexchange of ideas and expertise and offer aplatform for designer-makers to exhibit and sell work, products and designs to key markets and the public. Contact: info@hiddenart.co.uk;www.hiddenart.com

Robert Kilvington

Robert Kilvington’s work covers a wide spectrum of sectors, from designing and making furniture to projects for private, corporate and public bodies including public art commissions involving large-scale sculptures. Working as a design consultant is one of the most challenging areas for adesigner, with commercial briefs and tighttimescales, but rewarding if successful.Contact: mail@robertkilvington.com;www.robertkilvington.com

Sydney Levinson

Sydney Levinson is a partner of Rhodes &Rhodes, Chartered Accountants, offering specialist business, taxation and accountancyadvice to the creative industries. He also lectures extensively on practical taxation andaccounting issues surrounding the setting up ofbusinesses for The Design Trust (of which he isa trustee), the Crafts Council, NESTA, the RoyalCollege of Art and similar organisations.Contact: sydney@rhodesandrhodes.com

Matthew Lewis

Matthew Lewis studied design and manufacturing to MSC level before setting up a design and manufacturing business in 1994,supplying high street retailers with home accessories. He joined Purves & Purves in 1997as Product Development Manager. In 2003 hewent freelance, working with Business Link,Mazorca Projects and Furniture Works. He iscurrently working with 2pm Ltd on retail product and business development.Contact: lewis.e5@virgin.net

Contributors The Design Trust, its partners and the

Editor would like to express their grateful thanks to the following

organisations and individuals for contributing their knowledge and experience to this revised edition

of the Business Start-up Guide forDesigners and Makers 2005:

Aloof Design (Sam Aloof)

Aloof Design are conscientious brandguardians, dedicated to helping premiumbrands grow. As compulsive innovators, theirportfolio is distinctive, sensitive and honest. Their projects vary from the development ofidentities for start-ups, through to structuralpackaging design and branding for some of the world’s best-known multi-nationals.Contact: www.aloofdesign.com

a-n

This year a-n (The Artists Information Company)celebrates 25 years of publishing, research and advocacy for the visual arts. a-n is widelyacknowledged to be a key UK agency, representing and supporting best practice from the perspective of artists and promotingover £7 million of jobs and opportunities to the sector. Contact: info@a-n.co.uk; www.a-n.co.uk

Briffa & Co.

Briffa & Co., a firm of solicitors specialising inintellectual property work, is dedicated to theprotection and growth of businesses through theprotection of their copyrights, designs, patents,trademarks and trade secrets. It offers an innovative membership-based service calleddesignprotect. Briffa & Co. has also developedmany fixed-price services and standard formdocuments that can be ordered online directfrom its website.Contact: www.briffa.com

British Design Initiative (Maxine J. Horn)

The British Design Initiative is a membershiporganisation that exists to facilitate businessbetween commercial design agencies, university innovation units, in-house designdepartments, design graduates and industry. It is committed to improving professional documentation to ensure that business transactions between all membership groups and industry follow best practice procedures to the benefit of all parties.Contact: info@britishdesign.co.uk;www.britishdesign.co.uk

Business Link for London (Andrew Figgis)

Andrew Figgis is a Supply Chain Adviser in the Supply Chain Group at Business Link forLondon, the small business advice and supportservice for the capital. The Group assists companies and organisations to improve theirsupply chains by helping find suitable partnersand suppliers to bring a product to market andby providing a flexible programme to enableclients to participate in publicly financed programmes.Contact: afiggis@bl4london.com

Cockpit Arts

Cockpit Arts’ highly-acclaimed ‘DevelopingProfessional Practice’ part-time course provideshighly customised support in the areas of marketing, business, IT, photography, resourcesdevelopment and one-to-one mentoring. Thecourse, which runs from July to June each year, only has 20 places. Contact: info@cockpitarts.com

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University of Central England – BirminghamInstitute of Art and Design

Through the Birmingham Institute of Art andDesign (BIAD), UCE Birmingham provides business support, training and consultancy todesigner-makers in the city. The University has many strategic links to development organisations seeking to support the designer-maker as a key element in the renaissance of Birmingham. It is keen to make new links to help both students and its fashion-based companies.Contact: www.biad.uce.ac.uk

Liverpool and Manchester Design Initiative (promoting the North West’s creatives)

The Design Initiative is a charity offering freepractical advice and specialist information tocommissioners, purchasers and producers ofcontemporary design, craft or visual arts. Its programme includes seminars, publications,exhibitions, trade fairs and design awards aimedat the North West region’s creative professionalsand their clients. For start-up businesses it offers one-to-one portfolio sessions. Contact: www.designinit.org.uk; www.designbank.org.uk

Magnificent pr

Magnificent pr offers dedicated PR support to the design community. It will work on either afully retained or a job-by-job basis. Clients rangefrom Portmeirion and Cacharel Home to EllaDoran and the Eureka Project.Contact: info@magnificentpr.co.uk; www.magnificentpr.co.uk

Metropolitan Works (John Miller)

Metropolitan Works is a resource centre offeringadvice, training and state-of-the-art facilities for prototyping and product development to designers and manufacturers in a variety ofindustries. Metropolitan Works includes theFurniture Works project and is part of LondonMetropolitan University.Contact: furnitureworks@londonmet.ac.uk

Jeremy North

Jeremy North has semi-retired from his owntraining and consultancy business specialisingin the training of business skills to designers andartists, but still works closely with the CharteredSociety of Designers providing a range of training courses. He provides a business advicehotline for students at the Royal College of Art.Contact: www.jeremynorth.co.uk

Annette Naudin

Annette Naudin, a freelance arts and creativeindustries consultant who ran her own textilebusiness for 7 years, is based in the WestMidlands. Her clients include Arts CouncilEngland, West Midlands, WolverhamptonUniversity, Craftspace Touring, Birmingham City Council and Bilston Craft Gallery. She has a good overview of the creative sector and business environment regionally and nationally.Contact: annettenaudin@hotmail.com

NESTA

NESTA is the National Endowment for Science,Technology and the Arts, the organisation thatinvests in UK creativity and innovation. Set up byAct of Parliament in 1998, Nesta uses the interest on a National Lottery Endowment to pioneer ways of supporting and promoting creativity across science, technology, the arts and learning. Contact: www.nesta.org.uk

Michael Powell

Since the start of The Design Trust’s mentoringproject in 1997, Michael Powell has supportedthe Trust’s activities. His background as aChartered Mechanical Engineer and his broadinternational industrial experience have enabledhim to give enthusiastic guidance and encouragement as a mentor and valuable help in preparing the Guide.Contact: michael@wpowell.go-plus.net

Liz Price

Since 1998 Liz Price has enhanced creativegraduates’ opportunities within continuous professional development. Her activities haveincluded research into the skills needed for creative business start-up, mapping support,creating and running professional developmentworkshops and seminars for designers, as wellas lecturing within higher education. She alsoruns her own textile design business in Brighton.

Michael Sayers

Chairman of The Design Trust, he is Peta Levi’shusband, Editor of the Business Start-up Guide2003 for Designers, superannuated corporatefinance lawyer, draftsman, proof reader, libelreader and general supporter and critic.

Vanilla Storm

Vanilla Storm provides professional web services. It specialises in assisting start-ups and small companies to gain a web presenceand promote their products and services to aglobal audience. Websites start at just £200 plus VAT. Contact: www.vanillastorm.com

UK Trade & Investment

UK Trade & Investment is the governmentorganisation that provides integrated supportservices for UK companies engaged in overseas trade and foreign businesses focusedon the UK as an inward investment location. It brings together the work of teams in Britishembassies and FCO posts overseas and government departments across Whitehall.Contact: www.uktradeinvest.gov.uk

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Contributors

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1. Have you Got What it Takes?

Have you Got What it Takes?

Having business confidence will fuelyour self-motivation and improve yourbusiness success. This chapter helpsyou identify the business, professionaland personal skills you need to haveand/or develop for starting your own

business. It should be read in conjunction with chapter 2,

‘First Steps’.

A Graduate Into Business Project at theUniversity of Brighton that surveyed 250microdesign businesses in the South East found that 80% of respondents wished they had been more prepared when setting up, since their basic business practices could havebeen much more efficient and their businessescould have developed much faster. During theproject the qualities and skills listed below were identified as important in preparing graduatesfor self-employment or business start-up. Use them to identify your own abilities and knowledge:

How does your profile look in that checklist?

The more responses you have in the right hand columns, thegreater your chances of success.Many of the business skills listedare essential for getting started.You may not yet have the skills, but they can be acquired throughtraining, accessing the right information and finding the rightpeople to advise you. Use thechecklist to identify the areas that you need to address.

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Tick on a scale of 1-5 to identify your own current abilities and knowledge (1 being poor and 5 excellent):

Personal qualities Ask yourself if you are: Organised and a good self-manager 1 2 3 4 5Independent 1 2 3 4 5Self-confident 1 2 3 4 5Committed 1 2 3 4 5Flexible 1 2 3 4 5Proactive 1 2 3 4 5Self-motivated 1 2 3 4 5Able to delegate 1 2 3 4 5Willing to learn 1 2 3 4 5A good communicator 1 2 3 4 5

Professional qualities and aptitudes Ask yourself if you can: Evaluate yourself and your work 1 2 3 4 5Negotiate with clients and others in connection with your work 1 2 3 4 5Solve problems 1 2 3 4 5Make independent and critical judgements 1 2 3 4 5Value and seek advice from others 1 2 3 4 5Take advantage of opportunities 1 2 3 4 5Operate at a professional level 1 2 3 4 5Use contacts and network 1 2 3 4 5Cope with uncertainty 1 2 3 4 5Promote yourself and your work 1 2 3 4 5Take risks 1 2 3 4 5Have a vision for the future 1 2 3 4 5

Business knowledge Ask yourself if you are confident with the following: Knowing the market 1 2 3 4 5Being able to place yourself and your work in the market 1 2 3 4 5Costing and pricing your work 1 2 3 4 5Marketing and methods of selling 1 2 3 4 5Managing contracts, invoices, payments and financial management 1 2 3 4 5The different aspects of small business management 1 2 3 4 5Your ability to construct a marketing and financial business plan 1 2 3 4 5Managing projects and commissions 1 2 3 4 5Employing and managing others 1 2 3 4 5Tax and insurance 1 2 3 4 5Your legal rights as a designer (e.g. copyright) 1 2 3 4 5

CURRICULUM VITAE

Full namesAddress (including postcode)T. (including dialling code)F. (including dialling code)E.Website

1968 Born Liverpool1988 Arts Foundation Course, Bristol Polytechnic1989-92 Ceramics Degree (BA 2.1)

University of West England1993 1EntA Design Enterprise Training (8 weeks)

EXHIBITIONS

1989 Young Clay: Mall Galleries, LondonNew Designers, London

1990 Out of Clay, Cambridge Gallery, London1992 Bonhams Contemporary Art Auction

New Spirit: Keramik Studio, Vienna1993 Ceramics, London

EXHIBITIONS ARRANGED

1994 Creative Ceramics: Festival Hall, LondonNew Directions, GlasgowCeramique, ParisA New Decade: British Council touring exhibition to Japan

AWARDS AND GRANTS

New Tableware Award 1989: British Tableware FederationCrafts Council Setting Up Grant

COMMISSIONS AND PROJECTS

1993 Set of ceramic vessels (Private collection)

ACCOMPANYING INFORMATION

Photographs of my recent workArticle on my work from ‘Interiors’, July 1993

DESCRIPTION OF WORK

REFEREES13

for VAT (if your turnover is over£60,000). You will be taxed as aself-employed person and canclaim your business expensesagainst your profits (see chapter23, ‘Tax’). You will need to payNational Insurance and to keepaccurate records of all businesstransactions. If the business fails,you will have to pay creditors out of your personal assets.

Partnership

Two or more people run the business (normally they also workin the business) and share profitsand losses on an agreed basis.Setting up a partnership can bealmost as informal as becoming a sole trader, but you are stronglyadvised to see a solicitor andarrange to draw up a PartnershipAgreement. The advantage of a partnership is that you shareresponsibilities and decisions with someone else who also has a vested interest in the business.

Limited company

Unlike a sole trader or a partnership, a limited companyhas an independent legal identity.The directors’ personal assets arenot at risk should the business fail,unless they have given guarantees(which they frequently have to do)or have traded fraudulently. A company is more expensive to setup, but if you intend to be the sole shareholder you can buy aready-made or ‘off-the-shelf’ company that has never traded. If what you are planning is in effecta partnership to be carried onthrough a limited company, you will need a solicitor’s advice on

appropriate Articles of Association.Obtain the booklets ‘CompanyNames’ and ‘Business Names’from Companies House(www.companieshouse.gov.uk) for information about restrictions on names.

Co-operative

If you intend to work with others,e.g. sharing clients and premises,you may want to consider forminga co-operative. Co-operativesshare all decision-making and profits equally between members.However, getting the agreement ofall members can be difficult, andensuring broad equality of workloads and contributions cancause problems, so it is essentialthat the members of a co-operativedraw up a written contract at theoutset. If you have personal business targets a00nd objectives,you may feel restricted by working in a co-operative.

Your CVEnsure that your CV is up to date, concise, well-organised and contains all the relevant information. Use the sample CV right as a guide on how to lay out a CV.

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2. First Steps

First Steps This chapter offers some

initial guidance to designersconsidering setting up theirown business. It should be

read in conjunction withchapter 3, ‘Preliminary

Market Research’, chapter4, ‘Your Business Plan’,

chapter 6, ‘Premises’, chapter 10, ‘Contracts

and Licensing’ and chapter 24, ‘Continuing

Professional Development’.

Why start your own business? Many design graduates set up inbusiness so they can have controlover their work and the freedom toexpress themselves creatively.Independence and personaldevelopment are also highly rated.Financial reward is not the mainmotivator – it is the lifestyle thatappeals, rather than the potentialto make a great deal of money.

Before you startYou should consider the followingpoints before you start to prepare afull business plan:

● Understand what drives you andwhat you enjoy about your work,so that you can build this intoyour business idea. It is vital thatthere are elements of your business that you find inspiring.Your personal values need to sitat the heart of your business,because if they don’t, the day will come when you will not bebothered to get out of bed andcontinue working.

● Use your natural skills to visualise your future business –draw it, design it, model it.Making a business has to be a creative act.

● What is your business idea? Tryto explain it in 20 words.

● What is your unique sellingpoint? Ask yourself why a customer would want to purchase your products rather than a competitor’s.

● What are you trying to achieve, in both personal and businessterms? Try to explain this in one paragraph.

● How do you think you will meetyour objectives?

● Write your CV and assemble aportfolio (see chapter 18,‘Presenting your Work’).

SWOT analysisCarry out a SWOT (Strengths,Weaknesses, Opportunities,Threats) analysis in conjunctionwith the ‘Have you Got What itTakes?’ checklist in chapter 1, and list the following:

● Your personal and businessstrengths (e.g. self-confidence,organisational skills, personalcommitment, the strength of your product/idea)

● Your weaknesses (e.g. lack of business knowledge andexperience, lack of premises,lack of contacts)

● Opportunities that will help your business (e.g. awards, exhibitions, contacts, successes)

● Threats (e.g. competition, declining markets, interest rates,other external factors)

How can you use your strengthsand opportunities to overcomeyour weaknesses and threats?

If the weaknesses and threats outweigh your strengths andopportunities, then you need to do

more research into how you coulddevelop your business idea or change your products and services.

What specific areas are causingproblems, and what actions do you need to take?

What training needs have youidentified (e.g. business planning,book-keeping, presentation skills)?

Check how your SWOT analysiscompares with your 20-word business idea statement and withwhat you want to achieve.

What next? ● If you realise that you are not

yet ready to start your own enterprise, look for employmentthat will develop your skills,knowledge, networks and experience.

● If you feel sure that you want toset up your own business, youmay now need to carry out further research and training.

● Or, if you feel that you have allthe necessary skills, informationand resources, you can start todevelop your ideas into a business plan.

What business form will you adopt? Sole trader

This is the most basic businessform. Many freelancers begin assole traders. Setting up as a soletrader does not require any legalprocedures except to register anytrademark or logo that you plan touse. Notify HM Revenue &Customs of the commencement ofyour self-employment and register

Safety standard testing for productsCheck whether the product you are planning to sell needs safetycertification. The British StandardsInstitute website is a good place tostart looking for safety guidance(www.bsi.org.uk).

15

Your potential customers ● Who are your customers? They could be

wholesalers, retailers or end-users (e.g. individuals, other businesses, institutions).

● Where are they (local, regional, national or overseas)?

● Where and how (e.g. trade magazines, trade shows, directories, agents) will you identify them?

● How will you get access to them (directlythrough a personal visit, or through an agent,trade shows, shops, galleries, etc)?

● What are their needs?

● What are their spending patterns?

● How and where do they trade (through tradeshows, buying trips, etc)?

● How and where do they purchase their existing services/products?

● How do they find out about newservices/products?

● What criteria do they use to select the work orservice that they require? Are their decisionsbased primarily on price or on quality?

Use your market research results to make a customer profile. If you have already completedsales or work for customers, include your existing customer data in the profile.

Competition ● Who are your competitors?

● How established are they?

● What do they sell?

● Where do they sell?

● How do they market their products/services?Create a competitors’ dossier of, e.g., advertising material, direct mail, PR materials.

● How are they positioned, and what is their philosophy?

● How do they operate – do they compete directly with you?

● Who are their customers?

● What are their business goals? Try to identifytheir likely long-term strategies and businessphilosophies/mission statements.

● What is the size of their market?

● Why will your product/service be better than theirs?

● What are their strengths?

● What are their weaknesses?

● What are their opportunities?

● What are the threats to their businesses?

Sales ● How will you market your work?

● What will your selling costs be?

● What are your projected sales?

● How will you get new business?

● How much time each week/month will youallocate to sales and marketing?

● How much time will you allocate to sales follow-up?

● What do you see as the future of the market that you have chosen? Is it growing or declining?

When you have completed your market researchAfter completing your market research, you will know more about the market for yourbusiness. Write a statement about what the market is – where it is and how you will reach it; include the benefits of your product, yourunique selling point, and why people will buyyour work or services rather than those of yourcompetitors. Start to consider the most effectivepromotional methods and how much it will costyou to promote and market your business.

14

3. Preliminary Market Research

Preliminary Market Research

Market research provides new businesses with basic market

information that allows them to assess the feasibility of the business.This chapter offers guidance on the

preliminary market research you should carry out before setting up

your own business. It should be read in conjunction with chapter 2, ‘First

Steps’, chapter 4, ‘Your Business Plan’,chapter 11, ‘Marketing’, and chapter

16, ‘Dealing with Buyers and Galleries’.

Market research objectives Market research helps you identify the followinginformation:

● Who your customers are

● Who your competitors are

● How and where you are going to trade

● The size and potential of your market

● A pricing strategy

● The most appropriate promotion and marketing methods

● Estimated sales income

How to do your market research ● Attend a one-day training course for an

introduction to market research.

● Think how you could sell your work, and talk to your potential customers. If that involves dealing with retailers or galleries, speak to thebuyers and treat their opinions with respect – it is important to take note of all comments,including the criticisms; the fact that a business is taking interest in your work is apositive part of your market research.

● When presenting your work, try to take actualsamples that are relevant. If you get a positiveresponse from a number of contacts, then youcan have the confidence to start selling.

● Observe other designers’ and competitors’activities to see how they operate. Monitor current trends in fashion and lifestyles. Beaware of predicted trends by regularly visitinga range of trade fairs and exhibitions.

● Network, both formally (e.g. by joining an association) and informally.

● Observe how products are produced; this willhelp develop ideas for your brand.

Sources of market informationThe following are some sources of market information; some require field-based research,some can be researched from your desk. Selecta few that are the most relevant to your businessidea, and start to collect market information:

● Designers who have set up their own businesses in a similar area.

● Trade organisations and directories that provide specific information.

● Professional bodies and associations withadvice and networking opportunities.

● Department of Trade and Industry (DTI).

● Libraries, both local and central.

● Newspapers and trade magazines.

● Market reports.

● The internet.

● Competitors – who they sell to, their prices,branding, marketing activities.

● Trade shows.

● Shops, galleries and other retail outlets – see what sells.

● Universities and colleges – they educate future designers.

Remember, ongoing market research is vital for the growth of your business. Build time for market research into your weekly/monthly timetable.

5. Financing your Business

Financing your BusinessThis chapter is about how to

finance your business. It should beread in conjunction with chapter

4, ‘Your Business Plan’, and chapter 23, ‘Tax’.

Your business planWhen you are starting up in business, your business plan will have to explain, in somedetail, how you plan to finance your business.You have to convince everyone who will read theplan that you actually need the amount offinance that you say you need, that you havethought about the type or types of finance thatwill be needed (even though at that stage youwill not have negotiated the detailed financingarrangements) and that you will ensure that thefinance raised is not squandered.

If your business plan is prepared carelessly or recklessly, you may not succeed in raisingfinance at all; but if you do raise finance and thebusiness subsequently fails, other people willlose money. If they suspect that your businessplan was badly flawed you may be accused ofnegligence or even of dishonesty or fraud – withpotentially disastrous consequences for you.

Purposes for which your businessneeds start-up financeYour business plan must list the purposes for which your business needs start-up finance,with their approximate cost. These purposesmay include:

Continued

Organisations offering advice about soft loansand grants include:

National Federation of Enterprise Agencies(www.nfea.com)

Business Link for London(www.businesslink4london.com)

Shell Livewire (www.shell-livewire.org)

The Prince’s Trust (www.princes-trust.org.uk)

The DTI Small Firms Loan Guarantee Scheme(www.dti.gov.uk)

For detailed listings of each organisation, seechapter 25, ‘ Information Resources’

17

● Pricing of the work – see chapter 8, ‘Pricingyour Products and Services’.

● Your business objectives – where you see the business going in 3 years, and how it will get there.

● What finance is needed, including money to start up and cash flow requirements to keep the business going while you wait for payments to come in.

● Information on who is running or will run the business; include your CV and those ofany partners.

● How you will work, including your action plan.

● Marketing activities.

● Use graphs and interesting layouts; keep itprofessional looking.

Finances● A vital part of your business plan will be the

financial sections – see chapter 5, ‘Financingyour Business’.

● Make sure that you really understand all the financial elements of the plan – you will beasked about them at meetings and interviews for funding.

● Once the figures start to make sense and you know what needs to be done to survive,you will be able to use the business plan as asales and marketing guide. The financialaspects of the business plan should be linkedto how many customers you have and whereyou sell and promote your work.

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4. Your Business Plan

Your Business Plan A business plan is a document that

provides researched information aboutyour business, its market, operationaldetails and finances, including sales

projections and marketing information.This chapter should be read in

conjunction with chapter 2, ‘First Steps’, chapter 3, ‘Preliminary Market Research’, chapter 5,

‘Financing your Business’, and chapter 6, ‘Premises’.

Why write a business plan? A business plan forecasts events and enablesyou to review actual events versus forecastevents and then make appropriate corrections.Most of us have a business plan in our headswhen we start, but the value of committing it topaper emerges when monitoring progress, making decisions about priorities, planning thebest use of time, making operational decisions,taking risks, or raising funds. The business planis the yardstick against which the proprietor –you – measures the progress of the businessventure on which you have embarked.

Points to remember● You need to put customers at the heart of

your business. They will ask two questions:‘What do you do?’, and ‘Why should I careabout what you do enough to part with mymoney for it?’ Your business plan must provide the answers.

● There are many different audiences for a business plan. The information that your bankwill require is different from that needed by aprospective partner or collaborator; ensurethat your plan is appropriate for the audienceand has the information that they require.

● Continuously revise your business plan andobjectives. If some areas of the plan needchanging, don’t hesitate to rework it; speak toyour business mentor and, if necessary, yourbank. If you show that you can address potential problems before it is too late, thebank will respect you and may be able to help with further funding to bridge gaps when payments are late.

● Use your business plan as a ‘to do’ list; do what you have planned to do, and addnew activities as necessary.

● Do not treat each part of the plan as a separate entity within your business; areas willoverlap to show a clear picture of how yourbusiness will operate overall.

● Be realistic with your plan, never be too optimistic – remember, the goals you set are

the ones that you will have to achieve to stayin business. Don’t put yourself under too muchpressure; it’s important that you enjoy runningyour business.

What to put in your business plan ● Front page – your name and contact details,

and the name of the business.

● Contents – include page numbers.

● Introduction – the business idea, products andservices, address from where you will beworking, and legal identity.

● Market research undertaken – see chapter 3,‘Preliminary Market Research’.

● The work that you will be producing. Includegood photographs of your products, as wellas any press coverage and promotional mate-rial that show that you are serious about yourbusiness.

● Your premises – see chapter 6, ‘Premises’.

● SWOT analysis – see chapter 2, ‘First Steps’.

Help and information on setting up a business isavailable from the following organisations:

HM Revenue & Customs (www.hmce.gov.uk)

The Prince’s Trust (www.princes-trust.org.uk)

Shell LiveWire (www.shell-livewire.org)

Crafts Council (www.craftscouncil.org.uk)

Arts Council England (www.artscouncil.org.uk)

Business Link/Small Business Services(www.businesslink.org)

For detailed listings of each organisation, seechapter 25, ‘ Information Resources’. See chapter 26, ‘Further Reading’, for books on setting up a business and accounting.

19

Sources of start-up finance for yourbusinessYou will have to find, from one or more sources,the start-up finance that your business planshows you need. These sources may include:

● Your personal savings – most young entrepreneurs have no significant savings orinvestments of their own, but people whomyou approach for finance are likely to askwhether you have savings or investments.

If you do, they may expect you to invest in the business in order to demonstrate yourgood faith and your personal commitment to the business – and the more you can invest, the greater your share of the eventual profits is likely to be.

● Your family – you may have doting parents or, even better, a benevolent rich uncle.

● Someone else who will be working full time in the business – but do be careful, becausetoday’s prospective colleague and

enthusiastic partner may lack your vision and commitment and may become tomorrow’sobstacle to expansion and a millstone; thosecomments could apply to your current girlfriend or boyfriend, or even your spouse.

● Someone with business experience who iswilling to be your business mentor and (if youpropose to form a company) a part-time or anon-executive director and also to invest in the business.

● A venture capitalist (an individual or an institution) – reputable venture capitalists willwant to make a positive contribution to helpingyour business develop – so discuss with anyprospective investor what he can contribute tothe business apart from money.

● Your bank.

● A provider of ‘soft’ loans (see below).

● A grant-making organisation (see chapter 25, ‘Information Resources’) – some organisationsoffer grants that are either not repayable or arerepayable only if the conditions attached to ithave not been fulfilled.

Dealing with prospective investorsA prospective investor in your business will have his own ideas on how he wants to makehis investment. You, an inexperienced and probably near-penniless entrepreneur, may thinkthat you are in no position to negotiate and thatyou have to accept whatever terms you areoffered. Although you will not have a strongnegotiating hand, you must look carefully at theproposed terms and be prepared to negotiateon them (see chapter 12, ‘Negotiating Skills’).

Remember, the investor wants to invest in you. It will be primarily your skills and your continuingenthusiasm and motivation, and not his money,that will make the business succeed; he would be ill-advised to drive too hard a bargain. Someone in your family or your business mentor may be able to help you with the negotiations or give you commercialadvice; sometimes a solicitor or accountant will

give help for a nominal fee or without making acharge, on the understanding that if the business thrives you will take your legal oraccountancy work to his firm.

Types of start-up financeThere are two main types of investment in start-up businesses – loan finance and sharecapital, or (if the business is not to be a company) a partnership share or the ownership of the equity of the business.

Loan finance

A number of different types of loan finance are available:

● Long-term and either secured or unsecuredloans (although a loan is likely to be securedat the very least by your personal guaranteeand possibly by a mortgage on your home) – if your business is to be carried on through acompany, loan capital may confer the right forall or part of it to be converted in the future intoshare capital or its holder may be granted anoption to subscribe for share capital.

● Short-term loans – the most obvious exampleis a bank overdraft, which technically will berepayable on demand. Interest calculated onthe actual level of borrowing day to day – usually 2-3% over bank base rate – will becharged on most overdrafts.

● Bank loans – often a specific sum given for aspecific purpose (such as buying equipment)for a specific period. They cost slightly morethan an overdraft.

● ‘Soft’ loans – these are loans with morefavourable terms (particularly interest rates)than loans on normal commercial terms.

Share capital

The main types of share capital are:

● Preference – the holders (typically, externalinvestors) have a preferential right to dividendsif the company earns profits and can afford topay dividends. If the company is liquidatedthey have the right to have their share capitalrepaid after creditors have been paid, but

18

Continued

● Purchase or leasing of machinery, tools, vehicle, computer(s) and basic office furniture and equipment.

● Leasing and fitting out of premises, includingstructural alterations, rewiring, redecorationand refurbishment, installation of equipment,and survey, legal (including landlords’ solicitors) and removal costs – see chapter 6, ‘Premises’.

● Purchase of raw materials and any bought-in components, etc.

● Initial working capital, so that during the period – which may be several months –before orders come in and your customersstart to pay for goods/services that they havepurchased, the business can pay the rent,business rates, financing costs, servicecharges, utilities and other bills as they falldue, any salaries and your own (modest) living expenses.

● A small amount (say 10% of the total amountbudgeted for the above items) to cover contingencies that you have not foreseen.

Practical tips on how to manage your finances● Attend a short course to introduce you to

practical bookkeeping; although books andstart-up packs are available, a course givesyou the opportunity to ask questions and tomeet other people at the same stage as you.

● Consider whether you can afford to employ a part-time bookkeeper or get your figureschecked by a mentor, accountant or other professional. Remember, you do not need to do everything yourself, you can hire people to help.

● Allocate a fixed time each week to do your paperwork.

● Tell your bank in advance if you foresee thatthe business is likely to exceed the agreedoverdraft limit; if you give the bank advance

warning, and can provide an explanation ofwhat has gone wrong, the bank will be morelikely to be supportive than if you simply takeits continuing support for granted.

● Budget in year 2 onwards for banking costs;even if your bank offers free banking in year 1, it may start to charge in year 2, even for simple transactions.

● Do not be put off by the financial aspects.These are areas that you will deal with everyday, and you will soon understand the variousterms such as cash flow, credit control, andprofit and loss. Once you understand thebasics, you will feel more in control of the business. .

before any payment to ordinary shareholders;in a start-up they will normally have voting rights.

● Ordinary (sometimes referred to as equity) –the holders (typically, the founder and proprietor of the business and sometimesother individuals working in the business) rank behind the holders of preference sharesbut, if the business succeeds, will have effective ownership of the business or a majority stake in it.

Points to remember about loan capitaland preference share capitalLoan capital and preference share capitalalways have attached terms designed to protectthe external investors in your business. Thoseterms vary greatly, but you should be aware of the following points:

● Some terms will not be negotiable, or will be negotiable to a very limited extent only; one example is a bank overdraft, where themajor banks have standard terms from which they rarely depart.

● Some terms will be very complex; examplesare conversion or subscription rights and therestrictions on borrowing, on creating chargesand on carrying on various activities that long-term loans and preference shares typically contain; both their language and their implications may be hard to understandon first reading, but you must take the timeand trouble to understand the documents that you will be signing at the end of the negotiation.

● Be suspicious of terms that seem to you to beover-elaborate – sometimes they are exactlythat, and it is not unknown for an investor andhis advisers to have failed to understand thefull implications of what they have drafted.

● You must accept that an external investor who is risking his money on you is entitled tobe protected against imprudent managementof the business (e.g. over-rapid expansion,over-trading, diversification into business sectors unrelated to the original business or

in which you have no experience, excessive borrowing, or sales of major assets); he is also likely to want security of some kind.

● If your business is to be carried on through acompany, expect to give a personal guaranteeof the company’s overdraft and other indebtedness, perhaps supported by a mortgage on your home; guarantees by parents or other relations are sometimes requested.

Financial housekeepingIf you are to keep faith with your investors, and if your business is to survive and expand:

● You must keep accurate, up-to-date financialrecords and accounts.

● You must make taxation and other returns ontime (see chapter 23, ‘Tax’) and generally doyour utmost to comply with the law.

● You must manage the business’s cash floweffectively. A cash flow statement is a vital element in running your business. It shouldshow, month by month, how much money isexpected to come in and what the projectedexpenses are. Your business plan should contain a cash flow statement for year 1; and even if you do not prepare a full businessplan, you must prepare a cash flow statementat the outset, and then update it each monthfor the next 12 months. One reason why manysmall businesses fail is that they do not haveenough money to cover the cost of materialsand other expenses while they are waiting tobe paid money owed to them; another is that they have not costed their work accurately.

● You must invoice promptly – never leaveinvoicing until after delivery. Always invoice byor on delivery.

● You must try to get a pro-forma invoice or adeposit for work to be carried out, if dealingwith new clients.

● You must offer discounted invoices if they will encourage prompt payment – money received means healthy cash flow and lower overdraft charges.

5. Financing your Business

● Although your overheads when working from home are not the same as with businesspremises, nevertheless estimate your notionaloverheads so that you can cost your workrealistically. If you sell work too cheaply andsuddenly have to move to business premises,you may have problems in justifying suddenprice increases to clients.

Setting up a co-operative studio ● Use a solicitor; each co-operative works in

its own way, and a proper legal contract is vital(see chapter 10, ‘Contracts and Licensing’).

● Make sure you are not liable to pay the landlord’s solicitors’ fees for preparing the lease.

● Devise a set of house rules.

● Appoint one person to manage all standingorders and bills.

● Arrange regular meetings each month to discuss workshop and studio management.

● Ask people for advice.

● Always get more than one quote for any work to be done on the premises.

● Do not pay in advance for work.

● If applying for funding, do it as a group; it is easier for a collective to get local funding.

● Obtain a group bank account.

● If space is limited, ensure that that is communicated to future members.

● If you need further advice, use the CitizensAdvice Bureau (www.citizensadvice.org.uk) or your local Council.

● When running a co-operative studio, it is a good idea to get some basic business training.

21

Before you startWhen starting up in business, many designershave very tight budgets, so keep your costs to a minimum. Before agreeing to rent premises,identify all possible setting-up and running costs (installation of machinery, refurbishment,redecoration, rewiring, business rates, electricity,water, heating, service charges, legal agreements, survey, removal expenses, etc).

Choosing business premises● Plan your space very carefully. What size

studio do you need? What will insurance cost?

● Check the risks associated with the materialswith which you will be working; are they flammable, etc?

● If you plan to use the premises as part showroom, consider the location. Is it convenient for buyers to reach? Is there easy access and parking?

● Try to include a space for meeting clients, but look into the insurance implications.

● Contact estate agents, arts magazines, yourlocal arts council, college notice boards, localarts organisations and your local Council forlistings of studio spaces and other premises.

● Who is liable for the cost of maintenance and repairs? Are the lifts well maintained? Is the electrical wiring safe?

● Do you have 24-hour access?

● What security arrangements are in place?

● What noise restrictions exist?

● Speak to other tenants and find out whetherthere are any hidden problems.

● Are any subsidies available? Studios run professionally by associations such asClerkenwell Green Association(www.cga.org.uk), Cockpit Arts (www.cockpitarts.com), Yorkshire Art Space (www.artspace.org.uk),Wasps Artists’ Studios(www.waspsstudios.org.uk)

often offer reduced rates (i.e. below the commercial level) for business start-ups, orprovide space and facilities to rent on a dailybasis. See chapter 25, ‘InformationResources’, for further details.

Working from home ● Do you need planning permission, and

will this affect your house insurance?

● Does your lease or your Local Authority permit you to run a business from home?Speak to the local Council about planningissues such as B1 classification (which isrequired for offices, research and development, light industry in a residential area).

● Are there any restrictions such as access or privacy?

● What are the Health and Safety regulations?

● Can you get business insurance if working from home?

● Make sure that parking and loading are accessible.

● Check with neighbours that noise will not be a problem.

● Are there many distractions?

● Where will you meet clients, and does theenvironment look professional?

● Will you feel too isolated working from home all day?

20

6. Premises

Premises There are several different kinds of

location from where you can run yourbusiness – it is important to think

carefully about what kind will suit you best. This chapter, which

should be read in conjunction withchapter 2, ‘First Steps’, and chapter 4,

‘Your Business Plan’, offers guidanceon some issues to consider when

choosing suitable business premisesand how to find them.

Regional Development Agencies can providegrants for converting redundant rural buildingsfor commercial purposes:

English Regional Development Agency(www.englandsrdas.com)

Scottish Enterprise(www.scottish-enterprise.com)

Welsh Development Agency (www.wda.co.uk)

Invest Northern Ireland (www.investni.com)

Never let the telephone be disconnected or gounanswered – it is unprofessional. A clear andcarefully thought-out recorded voicemail message is a must.

Print professional business letter heading and other stationery.

23

A simple costing exercise fora designer-maker STEP 1 Calculate your annual business overheads, i.e. the fixed costs that must be paid regardless of sales (£14,000 in the following example):

Business overheads (annual) £

Rent (if working from home, allocate a proportion to the business) 3,000

Business rates 500

Telephone 900

Fax 350

Email 400

Insurance 250

Electricity 800

Water 600

Stationery 1,200

Promotional materials 1,200

Leasing agreements 300

Transport 1,200

Advertising (from recruiting subcontractors to promoting products) 1,000

Subscriptions to trade magazines and associations 200

Depreciation (how much the value of your capital assets declines each year) 600

Maintenance 500

Loan repayments 1,000

———-

TOTAL £14,000

———-

Work these out at a weekly rate by dividing thetotal by the number of weeks you work in a yearafter allowing for holidays (e.g. 48 weeks,assuming 4 weeks holidays)

i.e. £14,000 divided by 48 weeks = £291.

If you spend less time making products for sale,the result will be fewer items produced for sale.The fixed costs stay the same regardless of howmany items you sell, so the more items you sell,the cheaper the product or the higher your profit.

Calculate the number of hours spent each weekon making the work (i.e. physically producingwork). This is important because it will determinethe maximum number of items you can makeand will help you to decide whether you need toproduce faster or use subcontractors.

Assume that you work on average 8 hours a dayand a 5-day week. You may spend two days aweek on administration, marketing and selling,leaving 3 days for actually making products. If you spend 8 hours a day, 3 days a week in making, you spend 24 hours a week in making.

(In reality you will probably work much longerhours in the first few years of the business, butyou need to base your estimated time for costson sustainable figures. For example, if you calculate over a 6-day week at 10 hours a day,you will need to keep working to this schedule or increase your prices substantially when youreduce your time.)

Calculate the hourly rate by totalling the numberof hours you spend each week (say, 24 hours)on making. Your weekly overheads are £291(annual overheads divided by 48 weeks). Dividethat by the number of hours worked, i.e. £291divided by 24 hours, giving an hourly overheadrate of £12 appox. If you spend more hours aweek making, this will reduce your hourly rate,e.g. £291 divided by 30 hours = £9.70, whichcould result in higher profit, lower prices, etc.

If you spend a great deal of time on non-makingactivities, e.g. selling and marketing, your hourlyrate will increase. This is because you have lesstime for actually producing the products, and inconsequence you are more restricted as to howmuch you can produce each week. You willtherefore have to charge more per hour, and theselling price of your work will need to increaseso that you can cover your weekly overheads.

Remember, your notional salary as business manager is fixed. Even if you sell nothing, you still need money in order to live.Your living expenses are not going to stopbecause you do not have clients. Many designers take a part-time job when starting up. This guarantees a weekly income to covertheir living costs and allows time for developingproducts and markets. If the business thrives,the part-time job can be dropped.

STEP 2 Calculate your labour costs (i.e. what you need to earn in order to live)

Make a list of your personal living expenses;include money for holidays, insurance, rents,food, transport, clothing, Council Tax, etc. Youwill be surprised how much you need eachweek. Be realistic – remember that your moneywill need to come from somewhere and thehigher your living costs, the higher your salaryneeds and business overheads, and those inturn will affect your selling price.

Continued

22

7. Costing your Products and Services

Costing your Productsand Services

You cannot develop a sustainable business if you do not know the true

value of your time and your work. Thischapter, which should be read in conjunction with chapter 5,

‘Financing your Business’, and chapter8, ‘Pricing your Products and Services’, offers guidance on

how to cost your work.

General points ● Only with realistic costing can you find the

right market for your business.

● The cost price is what something actuallycosts you to make, including business overheads, labour costs and materials. It is not your selling price.

● Fixed costs are costs that stay constantregardless of sales (e.g. rent, business rates,insurance, telephone line rental).

● Variable costs are costs that relate directly tothe amount of work that you produce (e.g. materials, subcontractors, distribution).

● When you were a student, you may not havehad to budget for materials and time, but in business everything must be budgeted.

● The first step to costing your work is keepingdetailed records of all your outgoings.

● If you are providing a service, you still need to know what your business overhead costsare, to ensure that your hourly rate covers allyour expenses.

● You should attend training courses that will clarify issues such as production costs,profit margins and VAT.

Costs to consider if you are a designer-maker● The amount of and cost of materials

needed to make your products (e.g. fabric, paint, wood).

● Your business fixed costs

● Your labour costs – the hourly rate that you need to pay yourself to live; any wages that you pay; subcontractors’ hourly rates.

● Hidden costs – transport to meetings, magazines, etc.

● How much time you spend on other business activities (e.g. administration,research, selling). Time is money.

● Postage and distribution costs.

● Insurance – include any special insurance that will occasionally be needed (e.g. exhibition insurance or additional car insurance to cover delivery of products by car).

● The cost of marketing and promotional materials, stationery and presentation of work.

● Add a contingency for breakages and imperfect samples.

● Don’t forget to add a profit margin – this couldbe money for reinvestment in equipment at theend of the year or your pay rise.

● You must take into account the value of any stock or work-in-progress held at your accounts year-end date.

CalculateHow many items you can make per hour (youneed to be able to allocate a production time to each piece).

How many units you need to sell a year to break even.

24 25

For information on costing your work as a design consultant, see chapter 20, ‘Working as a Design Consultant’.

7. Costing your Products and Services

Continued

Personal living expenses (annual) £

Rent 5,200

Food 1,500

Bills (electricity, heating, gas, phone) 1,500

Council Tax 650

Clothing 800

Transport (car insurance, petrol, tax) 1,000

Medical insurance 350

Loan repayments (student) 350

Pension 600

Holiday 500

Personal allowance for gifts, etc 500

Entertainment 1,500

Laundry/dry cleaning 600

Personal (hairdressers, prescriptions, dentist) 300

Magazines, newspapers 500

Memberships 200

———

Total £16,050

This is your net salary requirement. You will needto add income tax and national insurance to thisfigure.

Plus approximate tax and national insurance 3,950

———-

TOTAL £20,000

———-

Divide this total (£20,000) by 48 weeks = £416(approx) to give a weekly living budget.

For an hourly rate that covers your weekly livingcosts of £416, divide the weekly total (£416) bythe number of hours spent making objects forsale. In this example it is 24 hours (3 days at 8hours a day), giving a labour hourly rate of £416divided by 24 hours = £17 approx.

STEP 3 Calculate your total hourly rate byadding the labour hourly rate to the overheadshourly rate:

£

labour 17overheads 12

———

£29———

STEP 4 Calculate the amount of time that eachpiece takes to make, and apply the total hourlyrate of overheads and labour, e.g. £29.Remember to include all production processes.For instance, a printer prints 3 scarves in anhour; each scarf therefore takes 20 minutes. The finishing takes 30 minutes per scarf and ittakes 30 minutes to press and package three,i.e. 10 minutes per scarf, producing a total time per scarf of 1 hour, with an overhead cost of £29.

STEP 5 Add the cost of materials per piece(remember to include specific postage, packaging and particular administration costs, etc.).

STEP 6 Add a contingency of approximately10%. This allows for breakages, hidden extrasand room for error (which in time should reduce,as you become more experienced).

STEP 7 Add your profit margin after you havetotalled the above. This is dependent on howmuch money your business needs to make tocover cash flow, to expand and develop.However, many new businesses make no profit in the first few years, because all availablemoney is reinvested in marketing, new businessdevelopment, materials and equipment.

If you are thinking about manufacturing work,working with subcontractors or batch production, there are many other elements toconsider and formulae to apply to your costing.Get some basic training from any of the business support agencies or your localBusiness Link – see chapter 15, ‘Getting yourWork Manufactured’, and chapter 25,‘Information Resources’. Speak to designers in your field.

For further guidance on costing products andservices, see the a-n (The Artists InformationCompany) website www.a-n.co.uk

27

Where will you sell your services/products?The location and type of outlet will affect yourselling prices. Consider how the work will besold. Position your products in the correct market place – look for outlets that are successfully selling similar products to yours –and remember, the market to which you sellaffects the price, with higher-end markets obviously allowing higher pricing.

Consider the following methods of selling:

● Direct mail: either include the cost of postage,packaging and return of goods or postage and packaging (P&P) are additional (and don’tforget to tell the customer).

● Retail outlets: research the profile of the retailoutlet – is it worth reducing the trade pricemarginally so as to be seen in a high-profileoutlet, thereby promoting your products in the right market place and developing branding? What is the retail mark-up? Makesure that your products are still affordable.Remember that the retailer will usually have toadd VAT to the retail price. Some retail outletswill charge higher prices because of theirlocation. Make sure that you know what yourwork is selling for in the various outlets, so thatyou can justify to the consumer and to clientsany difference in retail prices.

● Galleries (see chapter 16, ‘Dealing withBuyers and Galleries’).

● Commissions: each project should be costedindividually. Charge for all your time, including client visits.

● Exporting (see chapter 13, ‘Exporting’): how will you cover the cost of exporting? Will trade prices abroad be more expensive?What are the exchange rates?

● Internet sales (see chapter 21, ‘Creating aWebsite’): include the costs of marketing your site and of updating it.

Turnover● Consider your break-even point. How many

items do you need to sell, at what prices, tobreak even? The higher the contribution toyour fixed costs, the fewer items you will have to sell in order to break even. Include all your subcontracting costs.

● What is your production capacity? If capacityis limited, you will have to charge a high priceto cover all your costs. You may need toreview your production processes so that youcan reduce costs and meet the prices that the market dictates.

● Can you offer a discount to encourage largerorders or early payment?

● Do your prices mean that you need a minimum order from each client if producingan item is to be cost-effective?

Invoicing and payments ● Are you offering discounted invoices? If so,

build the discounts into your pricing strategy.

● Is your price ex-factory? Does it include delivery to the client?

● If you are offering sales promotions, rememberto include these in your costing, so that theprices are realistic.

● How long will the client take to pay? Your overdraft incurs interest charges.

26

8. Pricing your Products and Services

Pricing your Productsand Services

Pricing is not the same as costing. Cost price is what it costs

you to make a product. The sellingprice is the cost price plus a variety of

other contributing factors, including theperceived value and market demands.This chapter, which should be read in

conjunction with chapter 3, ‘PreliminaryMarket Research’, chapter 7,

‘Costing your Products and Services’,and chapter 11, ‘Marketing’, offers

guidance on how to work out the selling price of your product

and/or services.

General considerations when selling work● What is the market value of your work?

What are other similar products selling for?How can you justify a higher price than your competitors?

● You need to understand both what your customers are looking for and also what benefits you may be able to offer – then youcan put a value on your work.

● How will you communicate the value of yourwork to the client, especially if it is hand-worked? For example, the general publicwould consider a silver bracelet more valuablethan a Perspex bracelet, even if the silver wasmanufactured in 1 hour and the Perspex in 2days – the price must address this.

● Round your figures up to so that they readeasily (e.g. not £243.65 but £245); calculationsare also easier to make with rounded figures.

● Be open about your prices – state them with confidence.

● Selling your products/services yourself willtake extra time, so allow for this in the price.

● Include agents’ fees or commission if someone else is selling your work.

● Ensure that you include all exhibition costs inyour pricing strategy.

Trade and retail prices You should have two different prices for your product:

The trade price

The trade (wholesale) price is the price at which you sell to the trade. This will be the costof making plus your profit margin, but will notinclude a retail mark-up. Be careful not to let thegeneral public see your trade prices.

The retail price

The retail price is the price at which you selldirect to the public, i.e. the price on display inshops or galleries. The retailer will add a mark-up to the trade price to cover the costs incurredwhen selling the work; it can be between 100%and 250%, or even more. If you are selling thework yourself to the public, you should add theretail mark-up to your trade price.

Try to keep your retail price as constant as possible, so as to maintain a steady marketvalue for your work. Find out what your retailersare selling your work for. If you are not VAT-registered you cannot charge VAT.

N.B. If you are selling to an interior design practice, you may charge a price that falls inbetween wholesale and retail prices. Alwaysexplain what the price includes or excludes, e.g. VAT, delivery, packaging.

29

Trademarks A trademark is any sign or symbol which youuse to indicate your products’ origin, e.g. yourname or your business’s name. Once you havetraded for a while with the same name, you buildup goodwill and reputation in it, and you may beable to prevent others from using it or a verysimilar name on the same type of product. Yourability to do this will depend on your provingdeception by the other business leading to confusion among purchasers, i.e. that purchasers buy from the other business believing the products to be yours.

As your business grows, consider registeringtrademarks to help prevent others from using thesame or a similar name. A registered trademarkremoves the need for you to demonstrate thatyou have goodwill and reputation in your name.Further, if the other business is using the sametrademark on the same type of goods, yourcase should be straightforward.

Once you have a registered trademark you maylicense its use to other businesses. Trademarksare an asset like any other intellectual propertyright. However, unlike all other rights, theyremain granted indefinitely, subject to paymentof renewal fees every 10 years.

Trademarks are territorial, meaning that application must be made for a trademark in all countries in which you wish to be protected.UK-based businesses usually start the trademark process by an application to the UK Patent Office or the European trademarkoffice in Alicante, Spain.

A trademark application in the UK costs £200.There is an additional charge of £50 for eachadditional class of goods or service applied for.Filing a trademark application in the EC costs€975 and covers three classes of goods or service. Once the application is accepted forregistration, the office charges a further €1,100.Savings may be made by applying under theMadrid system, which allows international applications based on a national filing.

Patents A patent is a monopoly right granted for 20years to stop others from making or using yourinvention. A patent can apply to both inventive products and processes.

To obtain a patent the product/process must be new, involve inventive steps and be capableof industrial application. ‘New’ means, not disclosed to the public, so if you think that yourproduct/process is new, it is important to file apatent application before disclosing your invention publicly. ‘Inventive steps’ means thatyou must demonstrate that compared to what isalready known, your invention would not beobvious to someone with good knowledge of the invention and the field in which it is applied.

Patents are territorial – you need to apply in each country in which you seek protection.Usually designers make a first application at the UK Patent Office. The date when you file foryour patent is the date on which the novelty andinventiveness will be judged. You then have 12months to make further applications in othercountries, using the date of the first filing as the date of the application.

Patents are relatively expensive but can be valuable. They are only worthwhile if you willmake more money by being able to prevent others from using your invention than the patentcosts. Designers considering filing a patentshould search the patent office website(www.patent.gov.uk) for other patents being filed in the same field – this will give you an idea of how valuable your product/process is.

The cost of filing a UK patent is £30. However, if you engage professional advisers to draft thepatent, the cost may be between £500 and£1,500 plus VAT.

Ways to protect your designs● As well as a diary system for working out

deadlines for registering designs, keep arecord system for all design work. Your abilityto use unregistered rights to prevent copyingdepends on good record keeping.

● Keep signed and dated original design drawings, prototypes and samples, not justthe last drawing, because proving you havecopyright involves showing how your arrivedat the design that was copied – copiers would not have this material.

● Also keep any press cuttings or sales records; these help demonstrate the date on which your design was marketed or shownin public. It is a common belief that sendingdesign drawings to yourself helps prove thedate when your design was created. This is only partly true; it is no substitute for keeping the cuttings, etc.

● Make your design drawings as detailed as possible – include every aspect. Copyrightprotection schemes offer members databaseregistration of their designs, providing independent evidence of the date the design was created.

● Use some insignificant but identifiable featuresin your designs to help trap copiers.

Continued

● Know your rights and protect them by registering your designs.

● Don’t be intimidated by the size of the company infringing your rights.

● Copyright disputes do not have to be long,drawn-out and costly.

28

9. Protecting your Designs

Protecting your Designs There are several ways to

protect your work from copying. This chapter, which should be read

in conjunction with chapter 10,‘Contracts and Licensing’, is a general

introduction; seek legal advice fordetailed information.

CopyrightDesigns are automatically protected in law bycopyright, a right given to those who create original works to prevent others from copyingthem. Two-dimensional works and handmadethree-dimensional works are protected for the life of the artist/designer plus 70 years. Underinternational convention, works created in onecountry are automatically protected in mostother countries.

Unregistered design rightMass-produced items are automatically protected in the UK by unregistered design rightfor 10 years from first marketing or 15 years fromfirst making, whichever period is shorter. Mass-produced works are protected for 3 yearsacross the European Community (EC) so longas they have ‘individual character’.

Unregistered design right is similar to copyright, with two main differences:

A design will only be protected if it is not seenas a ‘commonplace design’ in the particular fieldof design at the time it was created.

In the last 5 years of protection anyone cancopy the design, provided they pay the designer reasonable royalties, so in practice UK design right usually prevents copying only for 5 – 6 years.

Registered designsYou can also register a design. Registration has advantages, especially when a particulardesign is seen as valuable to the business. If adesign is registered, there is no need to provecopyright – action can be taken against anyonewho produces the same design. Further, registered designs enjoy a 25-year period ofprotection, significantly longer than unregistereddesign right. A design can be registered nationally, or throughout the EC, or internationally.

Registrable designs can be three-dimensional or two-dimensional. With three-dimensional worksyou can register the whole design or part of it.Applying for protection in a two-dimensional pattern gives you protection for that pattern, no matter to what it is applied.

To qualify for registration you must prove thatyour design is ‘novel’, meaning that the designdoes not produce a feeling of ‘déjà vu’ (it doesnot put a person in mind of an existing design)and has not been exhibited in public or soldmore than 12 months prior to your applicationdate, i.e. a designer has 12 months from firstshowing or selling a work to decide whether toapply for a registered design. This 12-month‘grace’ period allows designers to gaugewhether there is enough interest in a specificdesign to make registration worthwhile. It is sensible to register a design if it proves popularor is likely to be copied, or where there is interest from others to license it.

Once a filing for a registered design is made in the UK or the EC, international convention allows a designer to extend the protection to any other country in the world as long as further applications are made within 6 months.

Registered designs can be a worthwhile addition to your asset portfolio and are increasingly popular. However, be aware of the application deadlines for each design you wish to register.

A fee of £60 is payable to register a design in the UK. Registering a textile costs £35. Theregistration fee for an EC filing is €230 and apublication fee of €120 for the first design. Thereis a sliding scale fee for further designs; theadditional registration fee for between 2 and 10designs is €115 each and €50 for more than 11 designs. The cost of application in othercountries depends on local costs.

For information on how to register in the UK, see www.patent.gov.uk, and in the EC,www.oami.eu.int

31

10. Contracts andLicensing

Contracts are legally binding agreements governing the terms of acommercial relationship. This chapter,

which should be read in conjunctionwith chapter 9, ‘Protecting your

Designs’, chapter 12, ‘NegotiatingSkills’, and chapter 15, ‘Getting your

Work Manufactured’, provides a general introduction to the subject,

but for detailed guidance, seek professional legal advice.

BasicsUsing contracts shows clients that you are professional and builds business confidence.Keep your contracts as simple and straightforward as possible.

Look at contracts used by other designers; get hold of a standard-form contract that youcan adapt for your business.

Making a contract● If you make an offer that is accepted, a

contract has been made. If the offer is rejected, there is no contract.

● If you make an offer but withdraw it before it is accepted, there is no contract.

● If you make an offer, you cannot withdraw it once the other party has accepted it unlessthe other party consents to the withdrawal,since a contract has been made.

● Contracts can be in a formal legal format, or in letter form, or verbal.

What contracts can do ● Provide a clear record of what has been

agreed, between whom, and when.

● Show that the parties all understand the terms.

● Define rights, liabilities and responsibilities.

● Make the ownership of work clear, and protectintellectual property rights (see chapter 9,‘Protecting your Designs’).

Professional practice ● Even if you agree something verbally, it can

amount to a contract, but never rely on this –always put contracts in writing.

● If you start work on a project, that may imply that you have agreed to the terms and conditions, so clarify all terms of the contract beforehand.

● Ensure that the contract includes all client,order, commission, project, quality, quantity,delivery, price and payment terms (includingthe consequences of breaching those terms).

● When using selling contracts or consignmentnotes, always clearly list in an appendix theitems that you are referring to, and include prices.

● Read very carefully any contract written bysomeone else. If you are unsure about or disagree with anything, do not sign.

● Ask all other parties to sign the contract andreturn one original. Although contracts neednot be signed or witnessed, it is advisable foreach party to sign one original, in order toconfirm the agreed terms.

● If you sign a contract and then sign another to replace it, the most recently signed document will probably apply. Make that clear in the paperwork.

● Keep a copy of every signed contract for your records.

Licensing A licence – a type of contract of particular importance to a designer – is the grant of permission to another person to do things thatare within the owner’s (i.e. your, the designer’s)control. A licence agreement sets out the termsand conditions on which the permission(licence) is granted. Most licences give thelicensee the right to manufacture, market and sell a specific product.

Continued

Help in drawing up contracts is available fromthe following organisations:

Briffa & Co.: Creative Lawyers for CreativeBusiness (www.briffa.com )

a-n (The Artists Information Company) (www.a-n.co.uk )

For a detailed listing of each company, seechapter 25, ‘Information Resources’.

10. Contracts and Licensing

30

9. Protecting your Designs

Continued

● Always have written contracts with employees,employers and freelance designers. Freelancedesigners and independent design housesautomatically own the copyright in theirdesigns unless there is an agreement to thecontrary. The contract must be clear as to theassignment of rights in designs produced; theemployer normally owns designs created during the employment. If you are a student,your college may own the intellectual property rights to designs created during your course.

● Consider registering your designs (see above).

● If you believe that your design has beencopied, buy a sample of the copy immediately, and keep the receipt – any delay can prejudice your rights. If you can’tbuy a sample, take a photograph or buy acopy of the magazine or brochure illustratingthe copied design, then obtain immediatelegal advice. If you write to the copiers, mark all letters ‘Without prejudice’ to ensure that you do not waive your rights by mistake.

Case studiesDesignProtect at work

DesignProtect members can register theirdesigns for an annual fee and are encouragedto update their records regularly. The organisation is run by the law firm Briffa & Co.,which provides specialist legal services to creative businesses, and offers a free 30-minute consultation within 24 hours of contact.

DesignProtect member knitwear designer Hikaru Noguchi successfully settled a disputeagainst a well-known high street fashion retailer(‘Company X’). Hikaru noticed that Company Xwas selling jumpers virtually identical to one ofher designs for £55. Company X, which hadpreviously stocked garments made to herdesign retailing at over £400, responded toBriffa’s initial letter by immediately signing undertakings to withdraw the jumpers from all their national stores and deliver them up to Hikaru. They also paid damages plus her legal fees in full.

Briffa & Co. said, ‘We were fortunate to be ableto show Company X copies of Hikaru’s original signed and dated design drawings.Evidence like that is obviously important in anylegal claim, but can often be hugely persuasivein the early stages of a dispute. It shows a suspected infringer that the designer is aware of their rights on creation and knows how to protect them. This gives the strong impressionthat the designer will also be prepared toenforce their rights, if needs be.’

ACID at work

Members of the organisation ACID (AntiCopying in Design Ltd) have a package of services to protect their designs. They also haveaccess to the legal services of City law firmBerwin Leighton. A 30-minute initial consultationis included in the cost of membership; a quote isprovided for the cost of any subsequent action.

ACID says, ‘We will continue to challenge majorplcs by asking them to declare their policy onrights ownership. We are determined to pursuelobbying to see the remaining loopholes in thelaw tightened so as to give designers more protection. Having to rely on some inadequaterights should not be a licence to copy, nor should it allow committed copyists to hide behind a fat legal budget, stonewall challenge and perpetuate litigation.’

Help on copyright and design protection is available from the following organisations:

ACID (Anti Copying in Design Ltd)(www.acid.uk.com )

Briffa & Co.: Creative Lawyers for Creative Business (www.briffa.com )

DACS (The Design and Artists CopyrightSociety) (www.dacs.co.uk)

Own It (www.own-it.org )

The Patent Office (www.patent.gov.uk)

Intellectual Property (www.intellectual-property.gov.uk)

For detailed listings of each organisation, see chapter 25, ‘Information Resources’.

33

MarketingMarketing involves finding the

most effective ways of reaching yourcustomers and promoting your products/services to them. This

chapter, which should be read in conjunction with chapter 3, ‘Preliminary

Market Research’, offers guidance onhow to market your products and/or

services. For guidance on selling yourproducts, see chapter 16, ‘Dealing with

Buyers and Galleries’, chapter 18,‘Presenting your Work’, and chapter

21, ‘Creating a Website’.

Marketing mixIt is important to create the right marketing mix;this involves correctly balancing the 4 Ps. Youwill need to know what effect changes to oneelement in the mix will have on the others:

● Product – what is your product?

● Price – how much will you sell your products for?

● Place – where will you sell your work?

● Promotion – how will you advertise and get sales?

Marketing objectives Make them SMART (Specific, Measurable,Achievable, Realistic, Timed).

● Think about your lifestyle values: do you wantto keep your designing as a hobby, or are youprepared to work all the hours it takes to getthe sales you need in order to earn a livingfrom the business?

● Set realistic targets and objectives – do notget bogged down in technical terms oradvanced marketing methods.

● How much will you sell, how often, and at what prices?

● Do you want to direct your products to a specific market? If so, what are that market’scharacteristics and criteria, and how couldyou adapt your work to increase sales? Youmay want to consider changing colours, scale, materials, etc.

The marketing plan ● Know what you want from your business (see

chapter 4, ‘Your Business Plan’) and make amarketing plan to illustrate how you will getthere. Do a 1-year plan and a monthly plan,even a weekly plan if necessary.

● Make sure you have carried out backgroundmarket research into your potential customers,their needs and their budgets (see chapter 3,‘Preliminary Market Research’).

● Work out how many potential customers youwill need to contact each week to achievesales, and monitor the results.

● When starting up in business, consider placing your products in a variety of suitableoutlets to test what works best.

Promotional materialEffective promotional material costs money; it should be budgeted as part of your businessoverheads. The quality of your promotionalmaterial reflects the image of your business, soconsider the presentation carefully (see chapter18, ‘Presenting your Work’). These are sometypes of promotional material that you may wish to use when starting up:

● Stationery – letterheads, business cards, compliment slips; you will use plenty of these, so bear quantity in mind whenresearching the print costs.

● Photographs

● Postcards – often used for exhibitions, but remember to put your contact details on the back (and the photographer’s credit if necessary).

● CV – potential clients and potential funders usually want to see a design CV (see chapter 1, ‘First Steps’).

● Posters – these are not really used as a selling tool, more for advertising events such as exhibitions.

● Brochures/leaflets – these can look very effective, and can also provide substantialinformation about your business. It is importantthat you know how you will use the brochurebefore you get it printed; if you are planning toput it in shops, the shop may be reluctant tohand it out if it contains your direct contactdetails (in case their customers go direct toyou). This can also apply to your packagingand labelling. Visit exhibitions to see how other competitors present their businesses.

Continued

11. Marketing

32

10. Contracts and Licensing

Continued

Important licensing issues● Exclusivity: Licences can be exclusive or

non-exclusive. If you grant an exclusivelicence you will not be able to manufactureand sell the product yourself. A non-exclusivelicence gives the licensee the right to manufacture and sell, but allows you to grant similar licences to others or to manufacture and sell the product yourself.

● Term of the licence: A licence can be perpetual or may last for a specified term. If the licence is long term or perpetual, ensurethat you have power to terminate the licence ifthe licensee is not selling enough products.

● Geographical scope: A licence can be limitedin geographical area, although a worldwidelicence is normal. If you are uncertain aboutthe licensee’s ability to sell the product in aparticular area, think about including geographical limits in the licence.

● Minimums: Unless an advance against royalties has been agreed, the licence shouldbe subject to minimums, so that if the licenseefails to sell a certain quantity in any one yearyou will be entitled to terminate the licence – avital provision that protects you if the licenseeis not doing its job properly.

● Royalties: A royalty is a payment to a designer in respect of sales of a productlicensed to the licensee. Royalties may beexpressed as a percentage of sales or ex-factory price or as a fixed sum on eachitem. You must negotiate the rate and the payment dates. Try to negotiate advance royalties in order to help cash flow; this alsomeans that if the project is cancelled you arenot left completely empty-handed. Royaltiesgive you a stake in the product’s success for as long as it sells.

● Records and accounts: To ensure that you are being paid the correct royalty, include aprovision that the licensee must keep properrecords of all products sold and the paymentsreceived for them. Ensure that you have theright to inspect the licensee’s books andrecords on reasonable notice.

● Manufacturing: Try to tie the licensee down to a production timetable. If the timetable isnot adhered to, you need to be entitled to terminate the licence. This will encourage the licensee to get on with the job quickly.

● Quality control/reputation: Maintain controlover how the product is made and packaged,so as to protect your reputation – the licenceshould specify that the final form of the products, e.g. materials and colours, must be approved by you and samples sent to you for approval before distribution starts. No variations should be permitted without your prior approval.

● Promotion: Agree on how you will be promoted as the designer of the products –are you to be credited as the creator, or willthey be sold under the licensee’s name?

● Product liability insurance: You may be liablefor damage or losses suffered by a purchaserif, e.g. an accident caused by the use of aproduct is traced to a design fault. Put thelicensee under obligation to arrange productliability insurance and to ensure that its sub-licensees are also insured.

● Infringement: An exclusive licensee is entitledto take action against an infringer of the intellectual property rights of your product,without recourse to you, but is under no obligation to do so. Try to include terms in your agreement requiring your licensee toinform you of any infringement and forcingthem to take action at their expense. Thelicensee may resist this, since it could be laying itself open to expensive litigation. Atworst, the licence should state that the licensee must alert you to any infringementand that good faith discussions should takeplace on whether to take an action and howcosts and damages awarded would beapportioned. Each party should be obliged to co-operate fully with the other if they decideto take action against an infringer.

● Competing products: You need to prohibit the licensee from manufacturing, marketing orselling any products that could be confusedwith yours.

● Sub-licensees: The licensee will need to bepermitted to sub-license its rights if other companies are to become involved in manu-facture, marketing or sale of the product, butthe licensee must be under obligation toensure that all relevant provisions of yourlicence are reflected in the sub-licence.

35

Making time It is vital that marketing should be an ongoingprocess. Even when you have an abundance ofcontracts to work on, you should be constantlycontacting new and existing clients for furtherbusiness, so that work never dries up. Maketime for some of the following marketing activities on a regular basis:

● Organise promotions, exhibitions, openevenings, and send out invitations.

● Inform clients of new work.

● Create up-to-date visual images of work and a design CV for website, brochure and PR.

● Find new sales opportunities; update yourdatabase with new client information.

● Network at trade fairs, private views, seminars, etc.

● Make appointments and visit new outlets.

● Take the time to research new resources and opportunities by reading about currentdesign news – keep yourself updated and informed.

More information on marketing and selling isavailable from the following organisations:

a-n (The Artists Information Company) (www.a-n.co.uk )

The Design Trust (www.designtrust.co.uk )

For detailed listings of each organisation, see chapter 25, ‘Information Resources’.

Suggested further reading:

Selling, Judith Staines, [a-n] Publications, 1993

The Design Handbook 2001, The British Design Initiative, 2001

Information to be included on an order specification form:

Your business name and contact details.

Order number.

Name of client.

VAT number if you have one.

Client contact details.

Delivery address.

Date of order.

Estimated delivery date.

Description of order.

Specification of items ordered – quantity, size,product code, colour, material, price.

Special instructions.

Postage and packaging details and costs (if not included in the price).

Terms and conditions of sale, commission, contract (usually on reverse). List any penaltiesfor late payment (e.g. overdue invoices will besubject to penalty charges of 5% per monthpayable on a daily basis), when damagesshould be reported, your minimum order quantity.

Space for the client to sign and return a duplicate to confirm order details.

Attach in duplicate any samples of materials,photographs, etc, that are referred to.

Continued

● Price lists – these should always be well presented and easy to understand.

● Website – have your own website (see chapter 21, ‘Creating a Website’), show the URL on all your stationery, and direct customers to the site. Don’t just expect customers to find you.

Client databases An updated database of client information is an invaluable marketing tool; it should includethe following information:

● Accurate client contact details (name, position in the organisation, ‘salutation’,address including postcode, telephone including dialling code, mobile, fax, email, website URL).

● Source of contact (e.g. exhibition, retail outlet, commission, advertisement).

● Date of contact.

● Items sold, including any special notes (e.g.particular requirements, delivery details).

● Value of items sold or order value.

● Date on which follow-up and promotional information was or is to be sent.

● Client comments and feedback.

Remember, always consider the implications ofthe Data Protection Act 1998.

Getting appointments – ways to reach customers ● Make sure you are dealing with the right

person, e.g. the gallery buyer or the productdevelopment co-ordinator (see chapter 16,‘Dealing with Buyers and Galleries’).

● Telephoning – be brave when telephoningclients. Your objective is to make contact andif possible get an appointment to show yourwork. Nobody likes cold calling, but experience will give you confidence. Have a plan of what you will say, and know how

your products will specifically benefit theprospective client. Write a follow-up letter confirming date, time and place of meeting.

● Writing – always follow up with a telephone call.

● Cold-call visit only if appropriate; never makea nuisance of yourself, and be prepared totake criticism positively.

● If you are sure that a retail outlet is right for your work, don’t be put off if the first contact was not successful. Try again a few months later.

● Networking through trade shows – get the names of potential customers, and visit their stands.

● Email – this can be intrusive, so use it sparingly unless you know that it is a standard procedure among your prospective customers.

● Advertising (TV, radio, magazines, posters) –this is expensive, and monitoring its effectiveness is difficult, so target carefully.

● Direct mail – this is expensive, so only sendmarketing material to specific customerswhom you have researched.

● Press and public relations – see chapter 19,‘Writing a Press Release’.

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11. Marketing

Branding Very often when starting a new business venture, one vitally important element is overlooked – branding.

What is branding?A brand identity is the public face of your business, represented through promotionalmaterials such as stationery, advertising, product packaging, signage and your website. It ensures that your product or service standsout from the crowd and appeals specifically to your target audience.

Points to remember about branding● A good brand identity should be memorable

and easy to comprehend. Its message shouldbe clear, confident and consistent.

● Your branding describes your business values when you are not present and, more often than not, helps to define first impressions for any new customer.

● Your branding should be developed so that it is versatile enough to apply to a broad range of materials, media and manufacturingprocesses. It should stand the test of time andbe able to evolve as your business develops.

● Establishing some brand guidelines will play an important role in ensuring continuity and cohesion.

Getting started Before developing a brand identity, it is vital thatyou have completed a clear business plan (seechapter 4, ‘Your Business Plan’). You are then ina position to develop an identity that clearlydefines and amplifies the unique values, integrity and spirit of your business.

You may need to consult a professional designagency to help create your brand. By askingquestions about the business, the agencyshould help you define your business’s creativerationale. A series of graphic representations ofthis information can then be developed, and achosen graphic solution refined and applied.

ObjectionsBefore you go into the negotiation, try to thinkthrough all your client’s possible objections. Beready to turn them into positive advantages. Forexample, if a prospective client says, ‘You havenever done anything like this before in my industry, why should I use you?’, turn that to youradvantage by replying, ‘That is the reason wewill bring a completely fresh approach to yourdesign problem.’

Be positive● Whether it is an informal meeting in someone’s

home or a formal meeting with a potentialcommercial client, try to take control at thestart by suggesting the agenda; if you foreseea long agenda, type it out, head it ‘SuggestedAgenda’ (the word ‘suggested’ is simply goodmanners) and bring enough copies for everyone attending the meeting.

● Have a formal or semi-formal presentationready, giving yourself the excuse to stand up at strategic moments, especially with commercial clients.

● Listening skills are important. Sympathise with the other view before you reply, ‘Yes, I can appreciate your view there, but do not forget, etc ...’

● Use the flip chart to list points you haveagreed on, as this tends to stop people coming back to them. Note blockages in order to come back to them and also to summarise the position at the end.

● Always look for the solution, not the problem,and be flexible about your approach.

Closing techniquesWays of ending the negotiating session or moving on to the next point include:

● Alternative close: ‘Can I email you notes onwhat we have decided, or would you prefer a letter or fax?’

● Summary close: ‘May I just summarise what we have agreed?’

● Assumptive close: ‘OK, now we have agreedon designs, colour schemes and deadlines,can we decide if you want us to project-manage the whole job or whether you just want working drawings?’

● Objection close: ‘I think we have agreed oneverything except the materials budget?’ (Getcommitment to everything else and then sortout the materials budget.)

TenderingYou may have to respond to a specification bynegotiating on paper. It is important that youreply exactly as per specification, as the clientmay wish to examine several proposals and thus need a basis for easy comparison.

This does not stop you from asking intelligentquestions that show you have the client’s best interests at heart or attaching a letter that shows that you have some suggestions forimprovements or cost-cutting. If third parties are involved, you should make contact withthem (with the client’s agreement if necessary)and explore their needs too.

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Remember, a successful negotiation, i.e. one resulting in a deal or a bargain, should always be reflected in a legally binding contract – see chapter 10, ‘Contracts and Licensing’.

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12. Negotiating Skills

Negotiating SkillsA negotiation meeting is like any

other meeting – you must prepare for it.This chapter offers guidance on how to prepare for a negotiation meeting and the techniques to use during it;

it should be read in conjunction with chapter 16, ‘Dealing with

Buyers and Galleries’.

Preparing a presentation● If you are better prepared than the person

with whom you are negotiating, you will havean advantage and the easier it will be for youto make your case.

● Remember that sensible negotiation aims for a ‘win-win’ situation, with everyone satisfiedwith the outcome. Do not enter the negotiationwith the intention of ‘screwing’ the other party.

● Work out your maximum and minimum positions, and try to estimate what your negotiating partner’s position is likely to be. If there is any overlap, you should be able toreach agreement. You need to probe for that overlap.

● Work out where the balance of power is likely to be. It may not be obvious even inbuyer/seller relationships. For example, theremay be time constraints or supplier problemsfor the client that you do not know about. Orthe client may like your ideas and designs, butis deliberately not showing his hand.

● Prepare plenty of handouts and any other useful props, e.g. samples and photographs.Effective use of these props will help you keep control.

● In a commercial situation, make sure beforethe meeting that there is a flip chart in theroom (if necessary, bring one with you), andplan to use it to make ‘spontaneous’ points.

● If a colleague is coming to the meeting withyou, work out your respective roles and whodoes what.

● Be committed and passionate – if you do notbelieve your designs are wonderful, whyshould they?

● Finally, be (and look) organised and busi-nesslike – make sure your papers are in theright order, never go to a meeting lookinguntidy or scruffy, and switch off your mobiletelephone before the meeting starts.

What can you afford to concede?● Before the meeting, think about things that

you can give that cost you little but which arevaluable to the other side.

● If your client finds your fees are too high, offer,if you can, to put in a little free time – e.g. do afree site survey or give some preliminaryresearch. Or you can offer to reduce the fees if the client will take on some of the work whichyou had included in your original quote. Forexample, if you are doing a kitchen design,ask the client to find the electrician/plumber,etc, and oversee their work, so you cancharge less. You are earning less but you aredoing less and taking less risk.

● Aim to cut the cost of materials by providing amenu of cheaper options if you need them.

● If the client is a commercial client, you can use intellectual property rights as a negotiatingtool, by territory, by time and by productgroup. For example, if the client wants worldwide rights but is starting in the UK, offer to do the UK job for less, but agree extrafees when your designs are used in othercountries. If you go down this route, youshould earn more if the project is a success,as you have accepted part of the risk.

● Argue always for the real cost benefits whichrevolve round time, effectiveness and quality,not cost. Design is often a small part of thetotal cost, yet it can be the difference betweena mediocre result and great success.

● Always defend your own day rate. Wherever possible, cut third parties’ time or fees, not yours.

● Buy time if necessary – if the client has raised objections or has made suggestionswhich you are not sure about, ask for time toget back to him at a later date; do not let your-self be hustled there and then into agreeing an unsatisfactory deal.

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Information and opportunitiesUK Trade & Investment’s website(www.uktradeinvest.gov.uk) provides content tailored to your business sector and chosenmarkets. This is a great source of up-to-datemarket information, country-specific sectoranalysis and advance notice of forthcomingevents and contacts.

You can also use the comprehensive UK Trade& Investment Information Centre in London togather information on target markets and helpmatch your products with the right buyers.Visitors are welcome during normal office hoursand a telephone/email enquiry service cananswer questions about overseas business.

New business opportunitiesTrade Development Officers based at British embassies and consulates abroad are constantly on the lookout for businessopportunities in their markets. Within minutes of being identified these leads can be sentdirect to your inbox through UK Trade &Investment’s email alerting system.

Help with local research and making it happenThe Overseas Market Introduction Service(OMIS) puts you directly in touch with staff in our overseas offices and provides focused business advice and visit support.

An OMIS workplan is likely to include a mix ofpre-visit research and support during an overseas visit. This could include an analysis of possible market entry strategies, the identification of possible business partners and then ‘warming them up’ and setting keyappointments on your behalf. Research couldalso cover advice on competitors as well aslocal regulations and standards.

Trade missions and fairsTaking part in overseas events such as tradefairs or seminars is a very effective way for youto test markets, attract customers, appointagents or distributors and make sales. UK Trade& Investment helps groups of UK companiesattend major global trade shows and take part in British trade missions visiting overseas markets.

Travelling as a group with other UK businesses,you’ll be supported by pre-mission briefingsfrom an ITA as well as ongoing help from theTrade Development Officers on the ground. Inmany cases you will be able to network with keymarket contacts in the impressive surroundingsof UK embassies and consulates.

Meeting overseas buyers at homeUK Trade & Investment advisers can also put you in touch with carefully selected potentialbuyers in your sector who are regularly broughtin groups to the UK to visit major trade shows.This gives you a chance to meet key overseasplayers without leaving the UK.

Publicising your productUK Trade & Investment can help create a ‘buzz’about your products in the overseas trade pressby producing professionally translated pressreleases targeted at key publications in your sector.

UK Trade & Investment works with:

Department for Culture, Media and Sport(DCMS), the government department with lead responsibility for co-ordinating and taking forward ministerial objectives and policy for the creative industries

Design Partners, which aims to increase thelevel of international trade for design businessesby co-ordinating the activities of industry bodiesand government agencies and departments

The Department of Trade & Industry (DTI), which funds the Design Council.

For more information about the help they offer the design industry, visit www.uktradeinvest.gov.uk

For further information, see chapter 25,‘Information Resources’.

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13. Exporting

ExportingDoing business overseas can be verydifferent from doing business at home,

and can be harder; new businessesare strongly encouraged to seek

professional advice before starting toexport. The lead government

organisation working in this field is UKTrade & Investment. This chapter outlines their services and should

be read in conjunction with chapter 14, ‘Working with Agents

and Distributors’.

Before startingYou should consider the following points whenthinking about exporting your design productsand services:

● How will you find and develop your markets?

● What are the relevant regulations governing(a) exporting from the UK and (b) importinginto the particular overseas market?

● What methods of transport will be used?

● What are appropriate forms of packaging?

● How will you communicate effectively withclients at a distance?

● What cultural and other differences are there in business customs and etiquette?

● How will you deal with any language barriers?Will you need an interpreter or a translator?

● What is needed to adapt your contracts, and how much will this cost?

● Will payment delays seriously interfere withyour cash flow, and how will you allow for this?

● How will you organise safe, efficient andprompt international payments? If paymentsare delayed, how will you enforce penalties?

Uk Trade & Investment

UK Trade & Investment provides support for UK companies who are keen to develop international business. It also provides supportfor overseas companies wishing to invest in theUK. It offers designers interested in exporting arange of services that will maximise their chances of breaking into overseas markets.

Advice and supportUK Trade & Investment’s network of International Trade Advisers (ITAs) based inlocal organisations such as Business Links andChambers of Commerce can provide you withessential, impartial advice on all aspects of international trade. They will be your guide to the occasionally confusing world of exporting.

Passport to ExportThe Passport to Export programme combinesmany of UK Trade & Investment’s services in acost-effective package specifically designed for new and inexperienced exporters. It putstogether in one simple, responsive process allthe tools that you need to grow your business.

The package includes advice from an ITA to identify and fills any gaps in your internationaltrade skills – such as export marketing, administration, documentation and culturalawareness – and helps you put together your own export strategy.

The Passport programme provides help beforea visit to an overseas market and will evaluatethe visit and review your export strategy in thelight of your experience.

Ongoing supportFor those who have completed the Passportprogramme, ongoing support is provided by UKTrade & Investment to help you build on thesefirm foundations, and the organisation’s servicesare at your disposal each time you want to break into a new market.

Help with communicating overseasUK Trade & Investment can provide advice tailored to the specific needs of your companyto help you to understand linguistic and culturaldifferences when doing business abroad.Specialist export communication advisers willrecommend practical measures to maximise theeffectiveness of your communications with youroverseas customers to ensure that you get the right messages across in the most cost-effective way.

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Points to remember when working with agents:

● Agents provide contacts and sales only. All production, logistics and marketing arefinanced by the designer or the manufacturer.

● Agents can be useful to access buyers forlarge companies where they have contacts.

● Agents have certain rights over the contactsand the sales they arrange.

● Agents work in selected geographical areas;you may need more than one to cover the territory you have in mind.

● Some agents specialise in the contract market; identify the market in which you think your product would sell best.

● An agent acts for a number of companies;make sure that he/she is not already handlinga product similar to yours.

Costs

Agents usually work on commission only orcommission and basic fee, and are responsiblefor all their own expenses. Expect to pay 10-12% of sales for an interior accessories agent and between 5-10% for a furniture agent, although with companies with a limited production facility, and therefore limited turnover, the rate would be 10%. This is paid monthly, in arrears, after the retailer has paid you.

Most furniture agents will not contemplate takingon a company unless they can see a potentialincome of £7,500 to £10,000. This means youhave to be able to produce £75,000 to £100,000of furniture per annum. Some agents may workfor less if they see potential for the future.

RepresentativesA representative carries out the same job as an agent, but he/she is an employee of yourcompany; you are therefore liable for all his/herexpenses (his/her out-of-pocket expenses,salary, PAYE, National Insurance, a car and itsrunning costs, etc). The advantage of a representative is that he/she concentrates solely on selling your product, and you havecomplete control of his/her movements.However, the cost of a representative is rarelyviable for a small company.

How to find the right distributor or producer● Have a full understanding of the product, its

potential market costs and price point.

● Research similar products, or products thatyou feel work in the same market – find outwho makes them, and who sells them.

● Visit trade shows; research the companies you are interested in approaching. Find outwho makes the decision on product selection;contact him/her to arrange a meeting to show the product.

How to find an agent

● By recommendation from another manufacturer.

● By advertising in trade journals.

A number of agents are members of PSA (the Professional Sales Association), part ofAmicus trade union. The PSA website(www.salespeople.org.uk) contains useful information.

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14. Working with Agents and Distributors

Working with Agents and Distributors

If your products are not being solddirect to the client or end-user, they will

typically be sold through either a distributor (who may be the product’s

manufacturer or alternatively a third-party organisation) or an agent.

The nature of your product may determine your choice. This chapter,which should be read in conjunction

with chapter 10, ‘Contracts andLicensing’, and chapter 13, ‘Exporting’,

offers guidance on what channel willbest suit your business.

ManufacturersConsider using manufacturers or producers(companies that organise manufacture but do not own factories themselves) in the following cases:

● When your product is new, particularly if it still needs some development work.

● When the requirement from you, beyond providing the design work, is minimal.

Costs

The designs are usually bought by or licensed to the manufacturer for a fee or royalty (see chapter 10, ‘Contracts and Licensing’). Financialreturn on this arrangement can be minimal; itoften works best if you have a portfolio of products licensed out.

The costs of manufacture, holding stock and business expenses are not borne by you.Manufacturers will decide themselves what their cost of manufacture is, and what they can sell the product for.

For further information on manufacturing, seechapter 15, ‘Getting your Work Manufactured’.

DistributorsDistributors are sales-based companies that buyand sell on. Consider using their services in thefollowing cases:

● When your product is already in production, oryou are going to put it into production.

● When you want to reach new markets where you do not have full knowledge of the local market.

● When you want greater control over the manufacture of your product.

Points to remember when working with distributors:

● You bear all the costs of manufacture and development.

● Distributors usually work in a specific geographical area. Do not give exclusive distribution for an area that is not pro-activelypursued by the distributor.

● Distributors should be able to sign up to anexpected turnover of sales and be preparedto order in good quantities.

● Distributors will want to consider a productwith everything organised – packaging, pointof sale display if required, minimum ordervalue, shipping costs, production lead times.

Costs

Distributors, who take on risk in the form of stock and marketing costs, will probably ask for a substantial discount on your normal tradeprice (the price at which you sell to the retailer).They will expect to mark up their cost price byaround 40% before selling on. Ideally the priceof the product should be approximately thesame whatever channel they are sold through,i.e. the recommended retail price (RRP) of aproduct sold direct from the designer to a retailer should be the same as the RRP of that product sold via the distributor.

Agents Agents are independent sales representativeswho sell your product to the most suitable retailoutlet. They do not physically distribute stock.Consider using an agent in the following cases:

● For products with a high price point but low volume of sales

● For products which might be specially commissioned and would not be otherwise stocked.

Always have a written agreement in place; setout and discuss expectations on each side.

Some agents require a legal contract; otherswork on an exchange of letters – which itselfmay constitute a legally binding contract.Although legal advice is expensive, seek itbefore entering into a contract of a new kind, orif you are unsure of what you are doing (seechapter 10, ‘Contracts and Licensing’)

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What does subcontracting the manufacture of your product involve?To understand fully what is involved, make a list of every process required to produce yourproduct, from ordering materials to packing anddistribution, and include the following:

● Raw materials: What do you require, e.g. will your customers want wood from sustainable sources, or couldn’t they care solong as it’s cheap? Will you select the materials and supply them to the manufactureron a free-issue basis (so there can be no misunderstandings) as in the garment industry, or is it better for the manufacturer to buy them as it has greater purchasing power?

● Production: Is one company capable of making the whole product? If not, do you haveto find people to do the other bits, or do theyhave a ‘friend’ who can do it? If a ‘friend’ isoffered to you, do not simply take on trusthis/her ability to do the job – make someenquiries about him/her.

● Packaging: Don’t leave this to the last minute.How will you wrap the product ? How fragile isit? Do you need a glossy cover, or is yourproduct best sent in a plain brown envelope?

● Logistics: Where will the product end up, andhow will it get there? Even details such as ‘Isthe door big enough at the store?’ are vital tocheck. These questions become even moreimportant if the product is being exported.

How many processes are there? How many different suppliers would be required to fulfilthem all? How much value is added at eachstage? Use the answers to work out which of the following categories your product falls into:

Products made by one supplier

This type of product is very easy to subcontract.However, as the subcontractor will be addingmost of the value to the product, you will simplybe adding a mark-up and selling it on – in effect,acting as a stock controller and distributor, andassuming financial and product risk. As you willnot be maximising your return from the product,it may be better to license or sell the design tothe manufacturer (see chapter 10, ‘Contractsand Licensing’).

Products needing many suppliers

If your product needs many suppliers, you are likely to be establishing a complex businessand perhaps spending more time managing thevarious suppliers than when you made everything yourself. Can the design be refined to reduce its components or processes? Canyou persuade suppliers to provide you with sub-assemblies rather than individual components only? If not, you probably need to redesign the product to take into account the capabilities of potential suppliers.

Products requiring a small number of suppliers

The products that are most successfully subcontracted tend to need a small number ofsuppliers, each responsible for a key part of theproduct. You can develop good relationshipswith three or four suppliers in a way that youcould not with ten. You can also have alternativesuppliers in mind for when demand increases orin case a supplier lets you down. You can buildup a good body of knowledge in particularprocesses, and this may lead on to moredesigns. You can retain the highest value-added aspects of the production for yourself.For example, the final assembly and packagingis often where most of the value is added to aproduct, so if you retain an element of finishingfor yourself (e.g. applying decoration, customising or even delivering and installingproducts), this will allow the product’s value toremain high as there is still a bespoke element in the product.

Continued

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15. Getting your Work Manufactured

Getting your WorkManufactured

This chapter is intended to help you decide whether your product issuitable for batch manufacture andhighlights some issues involved in subcontracting its manufacture. It

should be read in conjunction with chapter 10, ’Contracts

and Licensing’ and chapter 14,‘Working with Agents

and Distributors’.

What is the advantage of subcontracting manufacture?Many designer-makers want to spend more time designing and marketing their wares thanslaving in a workshop to finish off a batch. Theymay also be better at designing than at making– it’s a simple question of best use of time, skills and priorities.

Before you decide to subcontract themanufacture of your productBefore thinking about subcontracting your work to manufacturers you need to ask the following questions:

● Can you sell enough subcontracted productsat the right price? Your products may sell wellin small numbers at a relatively high price, butwill the demand and the price hold up whenthe product isn’t new any more? Will you beable to sell enough additional products tomake the investment in manufacturing (i.e. the cost of tooling and minimum quantitieswhich manufacturers require) worthwhile. Toanswer this you will need to have done someserious market research, not just relying onyour own and your friends’ instincts (see chapter 3, ‘Preliminary Market Research’).

● Do you really want to be a manufacturer? If you are subcontracting work, then you are presenting yourself as the manufacturer eventhough you may not be actually making anything. Your reputation will be based on thequality of your subcontractors’ work, not (ornot just) your own. So quality control becomesa major priority. You will also spend muchmore of your time marketing in order to sellenough products to make manufacturing large quantities worthwhile.

● Is your product suitable for batch manufacture? If your product is bespoke or amultiple version of commission work, it willneed the personal touch. It is probably notsuitable for batch manufacture, although somedesigners add their own imprint on productslargely made by someone else.

● What type of manufacturer do you want? Are you looking for a manufacturer to take on the entire manufacturing operation, or simply a jobbing company with no conflicts of interest?

● Have you got the right design for self-manufacture? Many designer-makers aspire to subcontract some of the work to manufacturers while keeping overall control ofthe products and continuing to sell them as their own. The aim is often to free up time formore design work. That can be a good way togrow your business, but the actual designsmay dictate the type of business that itbecomes. If the designs are too complex, theresult will be a complex business, leavingeven less time for you to be a designer. If thedesigns are too simple, you may be easilyundercut by competitors, and your businesswill need to be very fast-moving.

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16. Dealing with Buyers and Galleries

Dealing with Buyers and Galleries

Support from buyers and galleries can be crucial in establishing a

designer’s reputation; it is important todeal with them professionally. Thischapter, which should be read in

conjunction with chapter 3, ‘PreliminaryMarket Research’, chapter 10,

‘Contracts and Licensing’, chapter 11,‘Marketing’, and chapter 18, ‘Presenting

your Work’, highlights some issues ofwhich designers need to be aware

when dealing with buyers and galleries.

General points to remember when selling your products● Never stop selling yourself, your products

and your services. Always carry businesscards with you, and continuously sourceopportunities to network and sell.

● Remember that half of the sales process isputting the personality with the product, so beinteresting and friendly.

● Always try to be passionate and enthusiasticabout your product, service and business.

● When visiting people’s homes, be punctual,respectful and enthusiastic.

● When selling to a company, try to deal with the same person, and build up a relationshipwith the buyer.

● Ensure that all packaging reflects the quality ofyour work. This is part of your branding andshould not be compromised.

BuyersBefore approaching buyers, carry out preliminary market research (see chapter 3,‘Preliminary Market Research’).

Find out where your potential customers sell(shops, catalogues, website). Generally, try tounderstand as much as possible about howyour potential buyers operate, what they arelooking for, their priorities and responsibilities.

Buyers’ prioritiesBuyers’ priorities are to develop ranges thatmeet their company’s business objectives, satisfy their customers’ needs and achieve sales and profits.

Buyers’ responsibilities ● To ensure that purchases achieve sales and

profit targets and meet company objectives.

● Market analysis – to research what their customers are looking for, and identifychanges in consumer patterns.

● Trend analysis – to predict future trendsmonths, and even years, in advance.

● Merchandise and space planning – to knowwhen the stock will arrive and how it will look inthe store.

● Stock control – to manage stock budgets soas not to overspend on new ranges but tohave enough stock to support sales.

● Product range development – to develop new products which will refresh the range and support the continuity products.

Continued

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15. Getting your Work Manufactured

Continued

All three kinds of products can be subcontracted, but each kind will result in a very different role for you. It is important to establish what sort of business you want, and then fit the products to that business model, otherwise you run the risk that your first products will dictate the nature of what you end up doing.

What do you need to get started?Once you have decided that you wish to subcontract manufacture, remember that manufacturers are interested in viable productswith a market. They are not philanthropists. At the very least you will need:

● A specification

● A budget for tooling/prototypes

● A batch unit budget price

● A lead-time indication

● Batch sizes/anticipated volumes

To achieve this, you need to have investigated market potential, establishedwhether you are looking at high end or massproduction, benchmarked against other rivalproducts to establish a rough retail and wholesale price idea covering your overheadsand margins, and mapped out your ideal supplychain. In this way you can ascertain whether theunit product price is viable – if it isn’t, you willhave to think of a new market or product.

Finding a suitable manufacturer● There are numerous hard copy directories

and internet sites, which you can research forlistings. However, remember they won’t usuallytell you what the companies actually like/wantto do and what they can do but haven’t toldyou about (because they didn’t know youwanted to know about it).

● Think laterally – if you can’t find what youneed, think of the processes involved andwhat does that process also make. Plasticblow moulded lighting? How about peoplewho make watering cans?

● There is no substitute for going to see manufacturers, discussing your requirementsand adapting your design and other specifications if necessary. This also gives you an idea of the manufacturers’ character and how you could start to form a commercial relationship – remember, jobbing manufacturers tend not to like prima donnas.

Working with a manufacturer

● Be prepared to adapt and to compromisewhere necessary.

● Remember, sourcing and supply chain is allabout relationships.

● Bear in mind that manufacturers may have work schedules established for monthsahead. They may be doing you a favour bydoing your work. On the other hand they may be short of work even though they will not say so.

● Always stick to agreed schedules and plans. If you don’t, the supply chain won’t work.

● Once you have established a satisfactoryarrangement, always create a contractualarrangement (see chapter 10, ‘Contracts and Licensing’).

● Consider all copyright and other design ownership issues (see chapter 9, ‘Protectingyour Designs’).

Business Link For London offers further information (www.businesslink4london.com).For detailed listing, see chapter 25, ‘Information Resources’.

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Galleries ● Research the gallery and its market; make

sure that it is suitable. Find out if the galleryhas a selection policy and who is your maincontact for this.

● Decide what you want from a gallery (e.g.sales, PR, status).

● When sending information about your work,include your promotional material, high-qualityimages of your work, your design CV (seechapter2, ‘First Steps’) and any press releases(see chapter 19, ‘Writing a Press Release’).Preferably send images before you send any actual work.

● Make an appointment to show your work –don’t assume that cold-calling is fine.

● Some galleries demand exclusivity; weigh upthe pros and cons carefully. Remember, twogalleries in the same geographical area arenot both likely to want to sell your work.

● Always have a written agreement with yourgallery. Set terms for payment clearly, e.g. notification of sale within 4 weeks, paymentwithin 28 days of invoice. If you want to makeany changes to the contract or to your regularprices, always put them in writing to thegallery well in advance of making thechanges.

● Remember, galleries work on a mark-up, sale-or-return (SOR) or commission basis.

● Many galleries will ask for work on a SORbasis until they have confidence in your work.Try to avoid this, as stock costs money if it isnot being sold and you often pay for the return but then wait months for your goods. If working on a SOR basis, ensure that you agree dates for unsold work to be returned to you.

● Check that you are happy with the gallery’s discounting policy, e.g. do they give discounts for large orders, will they askyou in advance, etc.?

● Check insurance position; ensure that theagreement covers this.

● Ensure that the agreement provides for yourname to be given appropriate publicity

● Refer your clients/customers to the gallery.

● If you want to sell direct through your workshop, make sure that the gallery knows and that your direct sale prices are similar to those charged in the gallery.

● Inform the gallery of other outlets selling your work.

● If work is commissioned through a gallery, always have a written commissioning agreement, and always meet deadlines.

● When sending work to galleries, it is goodpractice to use a consignment agreement and consignment receipt.

● Galleries usually expect you to pay for the cost of delivery.

● Galleries exhibit work for a fixed period. This should be stated in the exhibiting andconsignment agreement.

● Always ask for details of the exhibition inwhich your work will be shown, including thespace where the work will be displayed andwhether there are any specific promotions forthe exhibition.

● If the work does not sell, find out why. It couldbe a poor location or wrong market, but it isimportant to know the reason. Always get asmuch feedback from your work as possible.

● Build a good relationship with selected galleries. Keep them informed about newwork, exhibitions and promotions. Let themknow about any potential press coverageabout your work to allow them to promote theirgallery and your work. When a gallery hasaccepted you, keep in contact with it andrespect its expertise.

46

16. Dealing with Buyers and Galleries

Continued

Buyers’ criteria

● Will my customers buy it?

● Can I modify the design to suit my customers?

● What are the lead times?

● Is it affordable?

● Can the designer produce and manufactureadequate quantities? Is there capacity for re-ordering?

● Will it fit into the planned look?

● Will it be exclusive?

● Is the designer competent and professional?

● Can I buy it cheaper from an existing supplier/source?

Working with buyers

● Find out the buyer’s name and position.

● Make initial contact by either telephone or letter; these are often more reliable thanemails, which are often deleted without being read.

● Return all telephone calls.

● Present yourself as a business, not as an individual.

● Make an appointment to present your work.

● Make a professional presentation – see chapter 18, ‘Presenting your Work’.

● If using samples, ensure that the samples are perfect.

● Know the benefits that your product can provide to that specific buyer.

● Remember that the customer is usually looking for something different.

● Find out what the retail mark-up is, and communicate your current retail prices, so you can maintain a constant market value for your work.

● Never ask the buyer to price your work.

● Ensure that your products are suitable for retail and meet safety and other standards;include care instructions, guarantees andother relevant information.

● Know your facts (e.g. costing, pricing, leadtimes, design process, material). Do not bluff.

● Be certain that you have adequate manufacturing capacity.

● Know your bottom line in pricing – don’t go beneath it, and try not to be bullied or pressured into agreeing terms of which youare unsure. If you are not sure about some-thing, ask for time to get back to the buyerwith further details.

● If a buyer wants exclusivity, consider this carefully (one alternative could be to producea new range specifically for the client).

● Agree all terms (including price, lead times,payment details, quantities) in writing, andsign a contract – see chapter 10, ‘Contractsand Licensing’. Warning: Buyers can feel likeyour best friend at first, but they can also be quite ruthless.

● Ensure that there are no hidden terms, e.g.exclusivity, delivery charges, returns policies.

● Follow up the meeting with a letter to the buyer confirming what was agreed, and asking him to acknowledge in writing receipt of that letter.

● Ensure quality control of orders going out,especially if working with subcontractors anddelegating production processes.

● Deliver the correct quantity on time; there are often penalties for late delivery.

● Keep in contact with the buyer – if a lead-timeis 3 months, give the buyer regular progressupdates. If you are having problems meetingthe deadline, tell the buyer immediately; donot stick your head in the sand. Try to give thebuyer solutions rather than problems.

● Contact the buyer after delivery to check thateverything is fine.

For a list of selected Crafts Council galleries, see the Crafts Council’s websitewww.craftscouncil.org.uk and the Design-Nationwebsite www.designnation.co.uk

Many retail outlets have opened gallery spaces;research the market carefully to ensure that workactually sells through the gallery and that it is notbeing used merely to enhance the aesthetics ofthe shop.

If retailers have galleries, always enquire about the promotional methods for the spaceand its marketing.

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● Make stock to exhibit. Always have sparestock to hand in case a short-notice exhibition or promotional opportunity suddenly arises.

Costs ● Space: you will usually pay for this in advance

(usually quoted without VAT, which has to bepaid). Check whether cost of space includesthe shell scheme.

● Decorating: check whether the shell schemewalls will need decorating and whether theshell scheme includes the cost of flooring.

● Lighting: this can really add up, so plan carefully and check all health and safety regulations in advance – mistakes are expensive – and order sufficient electric sockets.

● Shelves/display cabinets/display plinths/hanging rails/fixings – how will youattach pictures, etc.? Usually you cannot drillinto partitions, so find out the regulations in advance.

● Marketing and promotional material.

● Printing and posting invitations to clients, orenclosing letters with invitations provided bythe event organisers: don’t forget to contactthe relevant local and national media.

● Printing of price lists: these should look as professional as all other promotional material. It is vital to include sketches or photographs, colour ways, code numbers,etc; text on its own will not jog the buyer’smemory weeks later.

● Insurance for damage, loss, theft and thirdparty. (When goods are in transit, don’t leaveyour vehicle unattended, as you may not be covered.)

● Transport to and from the exhibition beforeand during the event.

● Accommodation for you and your helpers,including meals. Don’t forget their travel costs.

● Cost of help on the stand: you will need to beabsent occasionally, to look around, eat, etc.

● Petty cash, e.g. for coffees, teas and other incidentals.

● Budget your time in the exhibition costs – not just the attendance but the entire runningaround, preparation and break-down.

During the exhibition

● Allow plenty of time to arrive each morning, to clear away night covers, dust shelves, layout information and clear your head! Trafficcan be unpredictable, so be prepared for delays.

● Have somewhere to sit, if possible. Wear comfortable shoes and clothing that wearswell throughout the day.

● Organise storage space – where you will put cleaning materials, files, design CVs, portfolios, etc.

● Keep cameras, mobiles and money well hidden but easily accessible. How will yousecure displays and protect valuablesovernight? Consider lockable cases, andcheck liability. Never assume that stock will be safe merely because the exhibition has a good reputation.

● Have a small bottle of water to hand; the dryair and air conditioning can be dehydrating.

● Don’t read books and other journals when selling at an exhibition, or eat, drink or smokeon the stand. These look unprofessional andmake you less approachable (and cups of half drunk coffee do not add to the quality of your display).

48

17. Preparing for an Exhibition

Preparing for anExhibition

A successful exhibition requires a great deal of hard work before, during

and after the event. This chapter, whichshould be read in conjunction with

chapter 11, ‘Marketing’, and chapter16, ‘Dealing with Buyers and Galleries’,offers guidance on how to prepare for

an exhibition and what to do duringand after it.

Checklist ● Apply well in advance. If possible, select

your stand from the floor plan.

● Whom are you targeting – trade, public or both?

● Is the exhibition right for your type of work and marketing aims? If possible, you will havevisited the exhibition the previous year; talk toexhibitors.

● Consider sharing exhibition space andexpenses with a fellow designer whose workcomplements yours.

● Will you be selling on the day, or processingorders?

● Make sure that you have two different prices –trade and retail.

● Have a wide price range.

● Show all prices in local currency.

● Display prices at a public fair, but at a tradefair give indications of overall price ranges;this will lead buyers into talking to you toobtain more information.

● If you are selling direct to the public, considerhow products will be wrapped and packaged.

● Make sure that you are included in the exhibition catalogue, advertising material,source books and websites.

● Get promotional material from the organisers well in advance, so that you can send out invitations.

● Promote new ranges of work and organiselaunches to attract press and buyers. Also,show existing, best-selling items by which they recognise you.

● What are your lead times in relation to different quantities?

● Have your ordering and invoicing systems ready. Will you need VAT or exporting knowledge?

● Plan your space and display carefully beforehand. If necessary, build a replica stand and work out where things will go, and then make sketches or take photographs.

● Nails and screws are impossible for flimsywalls; use sticky fixers, blue tack, Velcro, double-sided tape, etc.

● Take spare stock if there is any risk of breakages on your display. If selling stock isneeded, have an accurate and detailed list of what you have for sale.

Some major internationaltrade and consumer showsJanuaryCologneimmcologne (international furniture trade show)www.imm-cologne.de

ParisMasion & Objet (home decoration,giftware and tableware trade show)Also takes place in September

www.maison-objet.com/en/index.htm

FebruaryBirminghamSpring Fair (gift and home trade show)www.springfair.com

LondonCollect (consumer art fair for contemporary objects)www.craftscouncil.org.uk/collect

Frankfurt-am-MainAmbiente (consumer goods trade show)www.messefrankfurt.com

MarchGlasgow Dazzle (contemporary jewelleryconsumer show)

Also takes place in Manchester in May, Edinburgh in August andLondon in Novemberwww.dazzle-exhibitions.com

AprilMilanSalone Internazionale del Mobile(international furniture trade show)www.isaloni.it

MilanEuroluce (international lightingtrade show)www.fieramilano.com

MayLondonPULSE (lifestyle and interior accessory trade show)

Organisers also produce TopDrawer Spring in January, TopDrawer Autumn in September(both in London) and Home & Giftin July, in Harrogate www.pulse-london.com

New YorkInternational ContemporaryFurniture Fair (furniture and interioraccessories trade show)www.icff.com

June New YorkSOFA (decorative and fine artsconsumer show)Also in Chicago in Octoberwww.sofaexpo.com

JulyLondonNew Designers (UK design graduates exhibition, with One

Year On, an exhibition of work byrecent graduates who have set upin business)www.newdesigners.com

SeptemberLondonDecorex International (interiordesign trade show)www.decorex.com

London100% Design (contemporary interior products trade show)www.100percentdesign.co.uk

Londondesignersblock (furniture andproducts by international artists)www.designersblock.org.uk

OctoberCologneOrgatec (international trade showfor the office environment)Bi-annual (next show in 2006)www.orgatec.com

LondonChelsea Crafts Fair (consumercrafts show)www.craftscouncil.org.uk

New YorkHigh Point International FurnitureShow (home furnishings and furniture trade show)www.highpointmarket.org

NovemberDubai Index (furniture, interiors and retaildesign trade show)www.dmbdubai.com

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18. Presenting your Work

Presenting your Work High-quality images and good

presentation techniques play an important role in marketing your work.This chapter, which should be read inconjunction with chapter 16, ‘Dealing

with Buyers and Galleries’, and chapter19, ‘Writing a Press Release’, includestips on photography, how to make an

effective presentation and how to put together a professional-

looking portfolio.

Images It is essential to have high-quality images of your work for exhibitions, for funding and grantapplications and for promotional activities.Images are vital marketing tools, so althoughthey are often expensive to produce, do not betempted to skimp on photographic costs –remember, they are selling your work for you.

Points to consider before a photographic shot● Work-in-progress shots done by makers

themselves are historically interesting, but alltoo often prove inadequate for PR and marketing purposes.

● Call on the services of a professional photographer who specialises in this kind ofwork. Always ask to see samples of his/herwork. You need to have complete confidencein the photographer – after all, for you this willbe a considerable investment of time, energyand money. Remember, it will cost more thanyou think to do the job properly. Give the photographer a clear brief. Make sure thathe/she understands the concept and is prepared for you to be both client and art director.

● Be specific about film formats you want used– e.g. until recently 35mm transparencies werethe most useful, although they are now beingsuperseded by high-resolution digital images.Will you need black and white, or colour, orboth? Digital images? Colour transparenciesor colour prints? If so, what kind of files do you need?

● Always get a detailed estimate, and makesure that all the costs are included – fees, filmand processing, colour management of digitalfiles (i.e. digital ‘darkroom’ work), Polaroids,prints, archiving on to CD/DVD, studio andfacilities hire, props, assistant’s fees, modelfees, make-up/styling costs, travel and delivery costs.

● Be prepared to pay a cancellation fee if youchange your mind at short notice and decidenot to go ahead with the shoot.

● Think through the entire concept. What will bethe most effective way of showing your work topotential clients, consumers and audiences? A combination of detail and overall shots is agood idea, as this will show your range. Thinkof the images as a visual CV.

● You may want to tailor the images you presentto a particular client or organisation – what arethey looking for?

● Where will these images be used? What shelflife do you need from them? Are they for grantapplications, slide indexes, postcard printing,brochures, posters, exhibition catalogues,books, or a combination of these?

● Give careful consideration to the lighting. What will suit the work best? What will be most informative, dramatic, moody, enigmatic?It is often best to keep the shot as simple aspossible so that the work can be clearly seen.

● Will a studio or location be most useful? Willyou need permission to use the location?

● What kind of background do you want –paper, cloth, specially painted, textured, natural materials (rock, wood, pebbles, fruit,anything you like) or architectural? The presssometimes like to cut out your work, so plainbackgrounds often work best.

● Will you need models, and therefore hair andmake-up? Will you be doing the styling as wellas the art direction? Will you be taking on therole of ‘producer’ for the shoot, with overallresponsibility for logistics and making sure thateverything and everybody is in the right placeat the right time on the right day?

● Make sure that you and the photographer are in agreement over how the images will be used and what your rights are in the photographs. Clarify copyright issues at theoutset: remember that photographic copyrightremains with your photographer unless otherwise agreed (preferably in writing). For further information on copyright, see chapter 9, ‘Protecting your Designs’.

● Be prepared to pay the photographer cash on delivery of work.

Continued50

17. Preparing for an Exhibition

● Contacts book – staple in business cards, but also make additional notes, list useful people to whom you have spoken, becauseby the end of the exhibition you won’t remember everyone.

● Talk to other exhibitors and network – invaluable for your learning curve.

● Leave your press releases and PR information at the organisers’ office, and replenish frequently.

● Invite specific clients to your stand; fix appointments for them to visit your stand soyou can dedicate time to them, and arrangefor somebody to attend the stand during your meeting.

● Be really enthusiastic, and treat the last customer of the day with as much energy as the first one. Never judge potential clientsby the way they look.

● Have slides, CDs, photographs and a designCV to show clients your complete (past andpresent) product range.

● Never leave your stand unattended – buyerswhom you miss rarely come back. If you mustleave your stand, have a comments book, or anotebook inviting visitors to leave their cards ina box provided.

● Never commit to agreements that you cannotfulfil – if you are not sure about enquiries, tellclients that you will get back to them when you have checked your stock, order book, or whatever. During a trade fair you need toreview constantly your production schedule in relation to the delivery dates that you are quoting.

● Have invoice pads and order forms to hand,keeping copies for you and the client. Ask forpro-forma invoice payment on first orders. Ifusing order forms, consider using NCR (nocarbon required) to avoid carbon paper and messy hands.

● Take a stapler (and staples) with you – a stapler is always useful.

● Have spare light bulbs.

● Keep your displays simple, approachable,safe and secure: a memorable display is notovercrowded. Think about colour, graphicsand image. Check the exhibitor manual for guidelines.

● Do not let people photograph your workunless they are press or buyers (press usuallywear badges and attend on press days).

● Read the exhibition catalogue thoroughly.

● Get photographs of each exhibition stand that you do – you soon build up an interestingportfolio. Make notes on what did and did notwork on the display; this is a useful reminderfor next time.

After the exhibition

● However tired you are at the end of an exhibition, you need to check your stock ofraw materials and start your production schedule immediately.

● Follow up each contact immediately. Don’tdespair if you do not take as many orders asyou hoped. Many orders come in later on, provided that your leaflets had all the memory-jogging information required for ordering.

● Honour your delivery dates. If problems arise, let the buyer know of any impendingdelay immediately – no buyer re-orders from unreliable suppliers. Insure transportation of delivery, or post by recorded delivery, etc, in case the buyer claims that the goods did not arrive.

● Whatever the financial outcome, an exhibitionprovides you with unique, current marketresearch and invaluable guidance for yourfuture design development.

Exhibitions such as 100% Design (www.100percentdesign.co.uk) are keen to support new designers and operate a range of bursary schemes.

Arts Council England (www.artscouncil.org.uk) and the Crafts Council(www.craftscouncil.org.uk) produce lists of exhibitions.

Organisations with group stands at trade fairs:

DesignGAP, Birmingham (www.design-gap.co.uk )

Hidden Art (www.hiddenart.com)

Liverpool and Manchester Design Initiative(www.designinit.org.uk)

Design-Nation (www.designnation.co.uk)

For detailed listings of each organisation, seechapter 25, ‘Information Resources’.

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After the presentation

● Leave behind something positive, especially if what you presented will be shown later on tosomeone else in your absence.

● If appropriate, follow up by email, fax or letterto summarise what happened; don’t leave itmore than 3 days to get back to clients.

● Maintain a contact database note of what happened. You may want to retry later. Make adiary note to follow up an unsuccessful butwell-received presentation. Have a reason tocome back, and know what your minimumobjective is.

● If you said you were going to do something, do it.

● When working to commission or as a consultant, always get a contract signed covering project details, agreed paymentterms, conditions and dates, delivery details,lead times and price (see chapter 10,‘Contracts and Licensing’).

● Protect your copyright and other intellectual property (see chapter 9, ‘Protecting your Designs’).

● Have an acknowledgement of order or delivery note system to confirm that the clienthas received the order in good condition.

● Always follow up with clients; see if they are satisfied with the service/product and want more.

Your portfolio Your portfolio represents you – make sure that inside and out it is representing you well. It looks unprofessional if you have beautiful creative work in an old scruffy case. When the contents look even slightly tatty, re-mount the work.

Putting together your portfolio● If you are not sure whether to include work,

get advice from other designers, mentors andfriends. Show work that you feel proud of andare happy to present, as this will increase your self-confidence. Be selective.

● Place delicate work in plastic sleeves to protect originals.

● Consider mounting designs on standardpaper throughout.

● If paper has to be cut to size, always make sure that it is uniform, square and has clean edges.

● Do not glue textiles down – they cannot beeasily removed or re-mounted.

● Do not smudge spray mount onto photographs – it looks terrible in daylight and collects dust.

● If using scanned images, check that theyaccurately represent the quality of your work,and take original photos with you if necessary.

● If you have any press releases or cuttings,take them along with you – again, be selective. Always include a design CV in your portfolio (see chapter 2, ‘First Steps’), andhave spare copies available to leave behind.

● Always keep your portfolio up-to-date – you don’t know when you will need it at short notice.

● Make sure that you have copies of all images and portfolio content in case the originals get lost or damaged.

● Put an identification label (to include your telephone number) on the inside of the case.

Showing your portfolio● Make sure that you have variety in your

portfolio and that it is relevant to the client you are meeting.

● When re-presenting work, always checkthrough the contents one last time from start to finish to ensure that everything is in the correct order. Make sure that all images are the same way up when opening the portfolio.

● If you have several meetings to go to in one day and are using public transport, consider the weight of the case; avoid mounting work on too many cards if it is not necessary.

● Try to avoid leaving your portfolio with a client. If you do have to leave your portfoliowith an agent or client, protect your copyright,and get a consignment receipt signed.

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18. Presenting your Work

Continued

Digital images

Although digital photography is now commonplace and provides a much cheaper way of presenting your work, you still need a professional photographer to takehigh-quality digital images. Low-resolutionimages are often unacceptable and the medianeed high-resolution digital images which are at least 300dpi and 10cm high. Time and again,designers cite that success with the press or in a selection process is due to the technical quality of images supplied.

Digital images can sometimes be time-consuming to download from emails and frustrating to open. Although easy to send,images by email also need to be quick andeasy to open by the recipient, and must be correctly labelled.

Format It is important to understand what image format exhibition organisers, grant-making bodies, curators, galleries and the press arelooking for. If in doubt, ask. If the applicationform states, ‘please supply 35mm slides’, that is what you must supply.

Labelling● Slide labels often jam projectors. If possible,

use labels specifically designed for slides or use a fine permanent marker. Always mark the slides with your name and telephone number.

● It is also a good idea to assert your copyrighton all images in the following format: © YourName Year (e.g. © John Smith 2003).

● Provide clear captions on a separate sheet,making it obvious which slides they relate to.Note the title, object description, material,technique, dimensions and photo credit.

● Clearly mark which way up the slide is to be viewed.

The presentationKey points for a good presentation This checklist assumes that you are presentingyour credentials using your work as a case history or histories. It should be read in conjunction with chapter 11, ‘Marketing’, and chapter 12, ‘Negotiating Skills’.

Before you start ● Set your objectives: what do you want

from this presentation?

● Prepare in advance for meeting clients.Research relevant information, e.g. their lead times (length of time between date oforder and delivery date), suppliers, quantities ordered, merchandising techniques, and retail outlets.

● Know your costing and pricing strategy.

● Research the cost of distribution and deliveryto the specific client.

● Be clear on why you are different; express this as benefits to the customer.

● Research the venue if you are not familiar with it; see if you can get in early to set up.

● Remember the Ps: Preparation, Passion,Professionalism, Proof, Props, Personality,Persuasion, Pace, Participation.

● Select your work to prove you can take a tightor a wide-open brief, solve problems and getresults. Use the work to get feedback from theclients and to identify their problems.

● Plan to demonstrate that you care about yourclients’ problems and not just your own.

● Think beforehand about the difficult questionsyou may get, and turn them into positives.

● Remember AIDA as a guide: Attention,Interest, Demonstration, and Action. Do notworry too much about technique, but do notannoy people, and do be interesting. Be yourself.

● Be prepared to negotiate (see chapter 12,‘Negotiating Skills’).

● For overseas clients, have you considered the costs of packaging?

During the presentation

● If you look and act like a professional, the client will have confidence in you and your business.

● Start by opening positively. Take control bysetting the agenda, checking how long youhave, getting approval for what you are to do.Tell them if there are notes or handouts. When do you want questions?

● Throw away all notes, and rely on good cues; leave your hands and mind free to bespontaneous. If you are presenting your work,you know it better than anyone else.

● Keep control by variety of voice, props, participation, eyes, questions and demonstration.

● Keep interest with drama. Do not forget thenon-visual senses: sound, smell, touch.

● Listen for leads (potential client problems) andbuying signals (how much do you charge?).

● Float ideas and solutions. Stay positive, however negative the client. Summarise what you could do.

● Be flexible – some good business with futurecontacts could be worth a slight reduction inyour profit margin.

● Close the meeting effectively: propose follow-up action, try a question that is difficultto reply to with a ‘no’. For example: ‘Would youlike me to come up with some approaches tothis problem fairly quickly, or do we havesome time to take a more detailed approach?’

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● Work out your message. What are you selling?Whom are you trying to reach? Are readers ofthe publication likely to be interested in yourproducts and services?

● Can you offer anything special?

● How are you going to get the messageacross? You must learn what will appeal toeach different news media. It is up to you tofind out what they are looking for in a story.

● Read other designers’ press releases to getan idea of what works well.

What your press release should contain

● Title

- Date of release.

- Bold and punchy title, to capture the imagination.

- Clear company logo.

● First paragraph (should be no more than 30 words):

- What the project or event is.

- When it is happening.

- Where it is happening.

- Who is involved.

- Agreed acknowledgement to sponsors orsupporter.

● Body of text:

- Who you are, in more detail.

- What you are doing.

- Your unique selling points.

- A verbal description that will paint a clearpicture in the reader’s eye.

● Signing/Note to the editor:

- Confirm again who the press contact is andwhere he/she can be contacted, and alsowhether further images are available.

- Give any peripheral information about yourorganisation/activities.

● Images:

- Always try to include clear images of theproduct for immediate visual impact.

- Photographs can be digital or film format, but digital is both quicker and more economical.

Keep the press release to one side of A4 paper,using large and readable typeface, and withspace for the journalist to write in the margins.

54

19. Writing a Press Release

Writing a Press Release A successful press release should

instantly persuade a journalist to coveryour product/company/exhibition as a

‘must-have’ story in his publication. Thischapter provides some tips on how to

write a professional-looking pressrelease. It should be read in conjunction with chapter 18,

‘Presenting your Work’.

Press‘Press’ refers to the free editorial coverage thatyou get for your event/product. It adds authorityvia third party endorsement, giving credibilityand generating interest. Good press coverage isgenerally considered to be 50% more valuablethan paid advertising. It may or may not sell yourwork, but it will create an awareness of it andraise your profile as a designer.

Press releasesA press release is a specially prepared writtenstatement sent to journalists that contains information promoting a specific event or product – the aim is to interest the journalists so much that they decide to feature theevent/product in their publication.

Journalists are busy people who see manypress releases every day, so yours has to convince them that your product/company isspecial. It needs to communicate your uniqueselling points efficiently and concisely. It shouldbe brief and will need a catchy, short headerand a bold first paragraph which puts acrossyour message clearly. A strong, interestingimage is also vital to catch the editor’s attention;it will ‘sell’ your story more effectively than alengthy written description of a product.

Preparation ● Leave sufficient time to get this right.

● Have you got the publication’s lead times?Glossy magazines such as ‘Vogue’ and‘House & Garden’ have a 4-month lead time,and even newspapers often need at least 6weeks.

● See what topics newspapers and trade journals actually cover. Identify the newspapers and magazines in which youwant to appear, and on which page, and find out the name of the relevant editor.

● Have you got a ‘peg’ or date (e.g. an exhibition) on which to hang the story?

What do the media want? Newspapers and magazines want articles that will sell their publications. They want entertaining and unusual stories, and first-classphotography, but also need basic informationclearly laid out so that it is easily transferred tothe space that they need to fill. Local press will usually reproduce your press release wordfor word, and cut from the bottom, so make sure that you say everything important in the first paragraph.

Checklist● Plan your objectives – have an unusual and,

if possible, unique angle to sell.

● Keep it simple and bold – be inspirational andenthusiastic, but never over-inflated!

● Follow up your press release – do not assume that the journalist or the public willcontact you. However, do not call the journalist too many times – he/she will get back to you if necessary.

● Do not assume that the journalist knows everything about you and your product.

● Anticipate likely or difficult questions – don’t lie,or embroider the truth.

● Be comfortable and relaxed.

● Project the right image – you are selling yourself as well as your products and services.

● Understand the journalist, and establish a relationship so that the journalist will comeback to you.

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● Acquire a project brief in writing, either beforeor after initial discussions; but make sure thatyou have one before you start work and that it includes all potential costs.

● Draw up a project action plan (which can berevised) that you use to measure progress and milestones achieved.

● If working with manufacturers and/or subcontractors, get everything in writing,including their lead-time for making the piece, completion dates, costs and specifications.

Dealing with your clients

● Communicate your ideas clearly. If the client is a group or board of individuals, find outwhich one is the overall decision-maker, andmake sure you listen and communicate withhim/her in particular, but without ignoring orupsetting the others.

● Allocate a new project number to each project; use it for all correspondence, invoicing and costs.

● Keep all project receipts, and code them toeach individual project to provide reference forfuture quotes. Keep a separate file for eachproject for reference.

● Carefully inspect samples of all manufacturedand subcontracted goods.

● If you need to present work in progress, dothis professionally (see chapter 18, ‘Presentingyour Work’). If it is appropriate, try to get all thecontractual team present so that any issuescan be communicated and dealt with at specific times.

● As a consultant you are rarely in control of theprojects that you are working on. Team work isneeded; it is important to keep communicationchannels flowing during projects, particularly ifthey are over extended periods of time.

● As a consultant, you have strict project briefsthat must be adhered to; do not expect tohave a great deal of artistic licence in re-interpreting the brief. One of the main creative skills of a design consultant is to beable to work within tight creative boundariesand budgets. However, do have the confidence to offer design input if needed.

● Make notes during important meetings withclients, or immediately afterwards, and don’tlose them.

● Always confirm in writing any conversation(including telephone), particularly concerningchanges in project specifications such asdeadlines, materials and budgets.

● If a client is not sticking to his part of theagreement, discuss this with him before matters get out of hand. If you have concernswith a commission or contract, express themas a professional. Sometimes problems arisethrough innocent misunderstandings that canbe easily rectified.

● Communicate deadlines and liaison dates. If you need further information, don’t hesitateto ask.

● Be flexible and open-minded.

● Know your limits and your limitations.

● Planning is fine but is not always possible;often you feel that you need to be in 20 placesat once, so try to organise each week with anelement of flexibility. Make action lists daily,and revise them each morning.

● Don’t be too proud to ask friends and family for help, especially with some of themundane work.

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20. Working as a Design Consultant

Working as a Design Consultant

A design consultant is an individual (or group of individuals) who createsdesigns in an advisory role with their

own personal interpretation of theclient’s brief. This chapter, which should

be read in conjunction with chapter 7,‘Costing your Products and Services’,

chapter 11, ‘Marketing’, and chapter 12, ‘Negotiating Skills’,

offers guidance on how to work as adesign consultant.

Costing your work as a design consultant Consider the following costs, and charge for them:

● Try to charge a design fee for any of yourideas and all preliminary design work.

● Hidden costs – include time spent on administration, research and travelling, travel costs, etc.

● Presentation costs – include photography.

● Promotional costs.

● A percentage of your fixed overheads.

● Materials needed for the project.

● Project-specific insurance and professional indemnity.

● Subcontracting costs. Are your preferred subcontractors available and reliable? Or willtheir lack of professionalism cost you money?Get all quotes in writing, and ensure that they include VAT.

● Manufacturing costs (see chapter 15, ‘Getting your Work Manufactured’).

● A contingency in costs and time budgets to allow for expired deadlines and unpredicted delays.

● If the project is in phases over a long period of time, ask for payment in stages to help cash flow.

Remember, if you provide a quote, you will be held to it. You may want to give an estimaterather than a quote for a project. This allows asmall margin of flexibility in your pricing. Onceyou are sure of the cost, then give a quote, but its amount is then fixed unless the brief changes.

Daily ratesWhen working as a consultant, you can usuallycharge a daily rate. This will depend on marketinfluences, your expertise and experience, workinvolved, and project costs. It should be calculated to cover your weekly living costs andbusiness overheads (see chapter 7, ‘Costingyour Products and Services’) and profit.

Be flexible with your daily rates. A long-termfixed contract can often be more valuable toyour business cash flow than a few short-termcontracts and can enable you to plan your time more effectively.

PlanningRead this section in conjunction with chapter 18,‘Presenting your Work’.

● Keep your portfolio and CV up-to-date, andtake them with you when meeting new clients.Remember, high-profile clients mentioned onyour CV add credibility and branding to your business.

● Prepare for client meetings well in advance;get as much information from the client beforehand: scale, colours, materials, etc.Understand the market for the project andwho your client’s clients are. Ask if it is possible to see other samples of relevant work carried out.

● Don’t feel pressured into quoting too hastily.Make sure that you include everything, andadd a contingency in case of error or delays.

● Plan how you would manage each stage.

● Agree to a contract before you start any work. Consider attaching to it a schedule of work or client order specification (see chapter 10, ‘Contracts and Licensing’).

● Negotiate and agree all design fees and project costs before starting work.

● Clarify ownership of copyright and licensingissues (see chapter 9, ‘Protecting yourDesigns’).

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Designing your website

You can either design your own website or paya web designer to do it for you.

DIY

Designing your own website will cost you lessmoney, but balance that against the cost of yourtime spent away from other activities. There aremany website design courses available throughadult education centres, universities, etc. It maybe worth looking for a course provided by oneof the art and design universities or colleges,which will be more tailored to your needs.

Designer

A commercial rate for a bespoke website, i.e. asite designed to your exact specifications, isaround £2,000. Off-the-shelf design services (i.e.the design is based on a template and is notunique) are also available at an annual fee fromaround £150. Extras such as an e-commercepackage, fax to email service and searchengine optimisation can be available at an additional charge. See chapter 22, ‘E-commerceand the Law’, for legal issues about working with a website designer.

Design elements

● Domain names – these are internet addresses, which can be bought from a number of internet service providers. Domainnames are not rights and are allotted on a first-come, first-served basis. Ideally, yourdomain name should be your company name,e.g. thedesigntrust.co.uk, but when choosingit, check that the main part of it is not already aregistered trademark (you can find this out bychecking on www.patent.gov.uk). If it is, it maybe worth opting for a different name which youcould then register as a trademark (for moreinformation about trademarks, see chapter 9,‘Protecting your Designs’).

● Put your contact information in a prominent position.

● The design of the site should include yourcompany in the blue browser window title, relevant meta tags file in the source code ofthe page, and targeted content on the homepage, i.e. a business description on yourhome page that matches the meta tags and the window title.

● The URL naming convention of the site should reflect the content of the pages, i.e.thedesigntrust.co.uk/businesstartupguide.html.

● Make sure that your website has a clear navigation structure so that visitors can findtheir way around it without getting lost.

● Keep your text clear and concise. Use headings, sub-headings, bullet points, etc.Web visitors do not like huge chunks of textand are unlikely to read it all – they tend toskim and scan. Make sure that your mostimportant points are listed towards the top ofthe page and are highlighted where relevant.

● Ensure that all images on the site are professional and the details correct; updateimages of your recent work regularly.

● Add a crawler page and robots.txt file which will assist search engines to crawl your website and increase your site’s visibility on the internet.

● Visit www.websitesthatsuck.com. It has a list ofdesign mistakes and things that visitors hateabout websites – it’s informative and very popular.

Website marketing

Having a website is only the first step into cyberspace. You will need to market your site in order to get the results you desire. This is ahuge commitment, so you may want to allocatea budget for this process:

● Marketing off the internet – include your website address on any business stationeryand in any printed publications, e.g. tradeshow catalogues.

● Marketing on the internet – include a linkspage, and spend time in setting up reciprocal links to other websites.

Search engines

● You can submit your website for free to all the major search engines. This does not guarantee a listing on the search engine, but you should do it twice a year to keep your site listed when the search enginesrefresh their data. It can take up to 3 months to get your site listed.

● Make sure that you submit your site to theopen directory project www.dmoz.org. This isthe largest, most comprehensive human-edited internet directory; it is importantbecause the open directory project providessearch results for many of the most popularsearch engines, such as Google and msn,and online portals. Many of the searchengines share data.

● The only way to guarantee a top ranking onsearch engines is through paid adverts orpay-per-click marketing. This needs to becarefully budgeted, and you would need toconsider your return on investment.

● webmasteryellowpages.com/members/submit.htm has a list of URL submission links to search engines.

● www.webmonkey.com has extensiveresources for web developers at every leveland gives step-by-step information on search engine optimisation.

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21. Creating a Website

Creating a WebsiteA website is an important marketing

and/or selling tool for designers. Thischapter, which offers guidance aboutsome issues involved in setting up a

website, should be read in conjunctionwith chapter 11, ‘Marketing’, and

chapter 22, ‘E-commerce and the Law’.

Different types of websiteWhen you make the decision to establish a web presence you will need to think about whatyou want from your website, i.e. whether you justwant an online signpost or whether you want to trade online.

The signpost-style website

The signpost-style website provides readilyaccessible information about your business, i.e.your contact details and information about yourservices and products. You can use it to storeprint-quality images for use by journalists, andyou can list exhibitions/outlets where your workcan be seen and bought. You can include interactive pages such as discussion forumswhere visitors can leave comments and getinvolved in discussions on current topics andissues; this encourages visitors to return to the site.

The selling website

The selling website gives the option to have your own retail outlet for your services and products. But remember, one advantage of theinternet is convenience. If you can’t follow uporders quickly and deliver within specified times,don’t sell over the internet; use it instead as amarketing and promotional tool. Before settingup online selling, consider the following issues:

● Have you got a mail order system/delivery network in place with customer support available?

● Can you deliver your products worldwide, or should you limit your delivery area to, say, the UK and Continental Europe?

● Consider what happens with faulty goods,credit control and insurance.

● Have you got secure payment facilities?

● Which payment provider should you use inorder to process credit card payments?www.electronic-payments.co.uk is an excellentsource of impartial advice and informationabout options and costs involved with differentcredit card providers.

● Legal issues – see chapter 22, ‘E-commerceand the Law’.

Dos and Don’tsSet objectives for what you want to achieve with your site. Always keep in mind your purpose and audience. Think about what yoursite visitors are looking for when they enter your site. The purpose of your site should be apparent within 4 seconds of your visitors entering the home page.

The internet is your resource; browse to look at your competition and get a feel for good site designs.

The web is useful for supporting a project. For example, you could have a password-protected page(s) for each client as a projectmanagement tool, to show drawings, timetables,minutes, contact reports, etc.

Make sure that your site is fully tested on both Mac and PC and across different browsers.Also, make sure that your web pages can beviewed on different resolution screens.

Don’t use large/high resolution images that take a long time to download. Remember, a high proportion of internet users are still usingdial-up connections.

Don’t create a website just because you thinkyou should. Remember, most new business willcome from recommendations or past work.

Don’t get carried away by the technology and forget about communication; give equalthought to the content of your site. Make surethat you don’t opt for unnecessary ‘bells andwhistles’ which actually hinder your visitors fromfinding what they are looking for. Competitors’sites are only a click away.

Types of connection to the internet

There are 3 types of connection to the internet –dial up, ISDN or ADSL broadband. Your connection choice should be determined byhow you use the internet, i.e. whether you mainly use email, whether you regularly surf the internet, or whether you have decided to setup your own website. Connections are suppliedby Internet Service Providers (ISPs), who will be able to suggest which type of connection ismost suitable for your needs. To find a list ofISPs, type ‘dial up internet access’, ‘ISDN’, or‘ADSL’ into a search engine, and research thedifferent costs and levels of service.

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Collecting and using personal data

● Most people want to be able to collect anduse details of site users – either to process anorder or to market to them in future, or even tosell the list to third parties. The Data ProtectionAct 1998 is complex and severely restrictswhat you can do with that information.

● You must comply with the Act, even if you are not required to notify the InformationCommissioner’s office about your use of data –see www.dataprotection.gov.uk for more information. Notification to the InformationCommissioner costs only £35 a year(www.informationcommissioner.gov.uk).

● You will normally need a privacy policy stating exactly what you may do with data,and often you need site users to accept itsterms before they register.

● The law requires an ‘opt-in’ policy for data collection (i.e. site users are not includedunless they click the relevant box).

● Don’t allow other people access to or use ofthe data that you collect without the consent of the person who supplied the data.

Employee use of email and the internet

● Have an effective email and internet use policy so that you reduce the risk of beingheld responsible for an employee’s actions in email or on the internet – this is one of themain risk areas for businesses using the internet.

● You must regularly and consistently enforceyour email and internet use policy.

● Don’t monitor staff email and internet use without getting advice on what you can and cannot do, as otherwise you may break the law.

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22. E-Commerce and the Law

E-Commerce and the Law

This chapter, which should be read inconjunction with chapter 9, ‘Protectingyour Designs’, chapter 10, ‘Contracts

and Licensing’, and chapter 21,‘Creating a Website’, highlights some of

the legal issues to consider when setting up or running a website; seek

professional legal advice for moredetailed information.

Using web designers ● Make sure you put in writing exactly what you

have agreed with the web designer before youstart. Consider what are ‘extras’ and how youwill be charged for them.

● Insist on acquiring copyright in the site, but expect not to get it until you have paid the designer in full. Obtain a warranty aboutcopyright ownership, and make sure that thedesigner fully indemnifies you against allcosts, claims and liabilities arising from breach of the warranty.

● Ensure you are free to use anything you supply to a designer – if any content was prepared by a third party other than anemployee, you normally don’t own the rights to it.

Constructing your web site

● Include details of your business name, thename of the owner(s) of the business, yournormal address and (for companies) any separate registered office (or otherwise statethat the registered office is the same as thetrading address), where the company is registered (e.g. England) and the companynumber. Small partnerships must state all the partners’ names.

● Get consent before linking into other web sites– usually people will be delighted to allow youto do so, but sometimes they may not, andthey may be able to sue you for linking to them.

● Any site disclaimers, i.e. notices reducing yourliability, must be prominent, as otherwise theywill be ineffective.

● If there are any barriers which prevent disabled users from accessing your site, thenas well as alienating your visitors, you couldbe in breach of disability discrimination laws.Business Link (www.businesslink4london.com)provides information sheets on this subject (for more details, see chapter 25, ‘Information Resources’).

Points to remember when selling on line

● There are strict laws requiring you to tell people how to correct errors in orders, whenthey are legally committed to the purchase,and, for consumers, giving them a cooling-off period.

● You will need to include your terms of business if you are doing business online.Don’t just copy other people’s terms – theymay be out of date. Internet dealings alsoraise special issues such as the rules applying to distance selling.

● Your terms of business should be in plainEnglish – in some cases, the law requires it anyway.

● If you sell goods, your terms of business must allow you to reject an order so that errors can be avoided and the contract cancelled if you have run out of stock.

● Make sure that your client/customer has to click into your site terms of business andaccept them before proceeding.

● Business Link provides further informationabout these issues (see above).

Other people’s postings on your website

● If you allow other people to post anything on your site (e.g. adverts, directory listings,forums, chat rooms, reviews), whether directlyor after being monitored, you need to (a) havea prominent complaints policy so that offending material will be removed fast, (b) have site use terms accepted by the user before they can use the site and (c) insure against liability (e.g. defamation or breach of copyright).

● Wherever possible, monitor content before itcan be seen on your site – disclaimers will notprotect you.

● Make sure that users agree to indemnify you fully against any liability.

23. Tax

TaxThis chapter deals with general

taxation issues, but is no substitute for accountancy or legal advice or

detailed guidance.

Most designer-makers start their careers as self-employed sole traders; this chapter concentrates on them and not on partnershipsor limited companies.

NotificationYou must notify HM Revenue & Customs forboth Income Tax and National Insurance contributions purposes of the commencement of self-employment before or shortly after thecommencement date (Form CWF 1, availablefrom www.hmrc.gov.uk). There are penalties for failure to notify within 3 months of commencement.

When does self-employment start?

Self-employment commences for tax purposeswhen you start to undertake a business activity‘with a view to profit’. Work made as a requirement of your degree course and sold atyour degree show may not necessarily be considered as trading income, nor may workmade and sold for test marketing purposes. Just because self-employment is deemed tocommence when a business activity is undertaken with a view to making a profit, it does not follow that you will only be considered self-employed if you make a profit.

National Insurance contributionsWhen self-employed, you will be liable to pay 2types of National Insurance contribution:

Class 2 Contributions

These amount to £2.10 per week for the tax year2005/2006; they can be paid by direct debit.

If your net income from self-employment is low(for 2005/2006, below £4,345 per year), you canapply for the Small Earnings Exception (FormCA02, obtainable from www.hmrc.gov.uk) – butfirst check that your benefits are not prejudiced.

Continued

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you will have to make 2 payments on account ofyour 2006/2007 liabilities, on 31 January and 31 July 2007. If you think that your liability for2006/2007 is likely to be less than that for2005/2006 (e.g. if your business profit has fallen), you can apply to have the payments on account reduced.

Common problem areas and questionsTo what date should you prepare your Self-Employment accounts?

Normally the first accounts that you should prepare would be for a period of no more than12 months, but the first period of accounts neednot be for exactly 12 months. For example, if youcommenced self-employment on 1 August2005, there is no requirement to prepare yourfirst accounts for the year to 31 July 2006.Normally it is simpler and more tax-efficient forthe first accounts to be prepared from the dateof commencement to the following 5 April, e.g.with a 1 August 2005 commencement date yourfirst accounts would be to 5 April 2006 and then to 5 April annually thereafter.

What business records do you need to keep?

HM Revenue & Customs publishes guidancenotes about the records that should be kept(leaflet SA/BK4, obtainable fromwww.hmrc.gov.uk ). You must keep a properrecord of all business receipts and expensesand retain all supporting documentation, otherwise penalties may become payable.Business records must be kept for at least 5 years after the 31 January following the year of assessment.

What expenses may be claimed against business income?

In calculating the profit chargeable to incometax, expenses incurred ‘wholly and exclusively’for the purposes of the business may bededucted. Particular care must be taken whereexpenses have both business and private purposes, e.g. telephones. Keep proper recordsto show how the business proportion claimedhas been arrived at, e.g. analyse each telephone bill to exclude the cost of private calls.Warning: if you are claiming a proportion of yourdomestic telephone as being for business use then, unless you have a separate business line, none of the line rental chargesmay be treated as allowable.

The following are examples of business expenses commonly claimable:

● Direct costs – This includes all materials purchased which can be directly attributed to the goods produced, e.g. a jeweller or silversmith could claim the cost of metals, hallmarking, assay costs, casting and findings, and the cost of any loose tools (these would normally include inexpensiveitems which wear out quickly, e.g. sandpaper, sponges, drill bits).

● Premises costs – Premises costs include office or studio rent, rates and council tax. Ifyou work from home, seek professional adviceas to the proportion that may be claimed,especially if you own your home rather than rent it.

● Motor expenses – Motor expenses include all your car’s normal running costs (includingrepairs) if used for business purposes. Wherethe vehicle has both business and private use,keep detailed logs to enable you to calculatethe business element. Parking fines and fines for motoring offences are not allowable expenses.

● Travel and subsistence – The cost of businesstravel is allowable, but not the cost of travellingbetween your home and your place of work.Subsistence is the reasonable cost of accommodation and meals when travelling for business purposes; this excludes the cost of lunches.

● Business entertaining – Business entertainingis not an allowable expense, except for gifts ofup to £50 per person per year that advertiseyour business and are neither food nor drink,and the costs of entertaining staff.

● Employee costs – If you take on employeesyou must comply with the PAYE and NationalInsurance regulations – this also applies to students or people doing work experiencewith you. Never include your personal drawings as employee costs; they are notdeductible in arriving at your taxable businessprofit. You must have proper contracts ofemployment for any employees, particularly to protect your own intellectual property rights(see chapter 9, ‘Protecting your Designs’, andchapter 10, ‘Contracts and Licensing’).

● Repairs and renewals – The cost of repairs to your equipment and premises can beclaimed.

● General administrative expenses – These normally include printing, postage, stationery,cleaning materials, studio canteen costs (milk, coffee, tea, sugar, mineral water, but not normally food), telephone (excluding privateuse) costs and other incidental costs of running your business, e.g. research materials and subscriptions.

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Continued

If you have employment income as well asincome from self-employment, you may be ableto apply for deferral of Class 2 Contributions ifyour aggregate earned income is above£32,760 (for the tax year 2005/2006).

Class 4 Contributions.

These are payable at the same time as yourIncome Tax liability by self-assessment. For thetax year 2005/2006, contributions are chargedon net trading income (as adjusted for IncomeTax purposes) at a rate of 8% on profits between£4,895 and £32,760 plus 1% on profits above£32,760 per year.

Income TaxIncome Tax is payable by self-assessment.Once you have registered your self-employmentwith HM Revenue & Customs you will be given a10 digit Unique Taxpayer’s Reference (UTR).(Your Tax Return form should contain the relevant supplementary pages to notify your self-employment income.)

The UK tax year runs from 6 April to the following 5 April. (The year commencing on 6April 2005 and finishing on 5 April 2006 isknown as the tax year 2005/2006.)

There are strict time limits for filing your TaxReturn. The 2005/2006 Tax Return must be filedby 31 January 2007 to avoid a late filing penalty.If you want HM Revenue & Customs to calculateyour 2005/2006 Tax and Class 4 NationalInsurance Contributions for you, you must fileyour Tax Return by 30 September 2006.

Assuming that you have made no payments on account of your 2005/2006 liabilities, payment must be made in full by 31 January2007 to avoid interest being charged. If your2005/2006 liability remains unpaid by 28February 2007, a surcharge will becomepayable. If your 2005/2006 liability is over £500,

Details of tax rates and allowances are available from HM Revenue & Customs(www.hmrc.gov.uk).

The HM Revenue & Customs helpline for theNewly Self Employed is 08459 154 515.

23. Tax

● Advertising and promotion – This includes the ordinary day-to-day costs of advertisingand promoting your business, e.g. newspaperadvertisements, mail shots and distribution of free samples.

● Legal and professional costs – This includesaccountants’, solicitors’ and similar costs (butnot fines for breaking the law) and professionalindemnity insurance premium. Do not includehere the legal costs of purchasing fixedassets; they are part of the cost of the fixed asset.

● Bad debts – Bad debts are amounts included in your income but remaining unpaid at your year-end accounting date thatyou consider will never be recovered. If, unexpectedly, you recover the amount in alater year, you must include it in the later year’saccounts. Any bad debt provision must relateto specific debts; a general bad debt reserveis not allowable for tax purposes.

● Interest – Interest on loans (including overdrafts) is deductible, although if youbecome overdrawn as a result of personaldrawings from the business account, the interest payable cannot be claimed. The actual repayment of the loan or overdraft is not an allowable expense.

● Other finance charges – These include bankcharges, credit card charges, hire-purchaseinterest and leasing payments.

● Depreciation – Depreciation is an accountingadjustment to spread the cost of fixed assetsover their useful life. Many different methodsfor providing depreciation exist, and differentrates of deprecation are used for differenttypes of asset. Because of this, HM Revenue& Customs have their own system of depreciation; the allowances available are known as capital allowances.

What is the position on prizes, awards and grants?

Any prizes or awards you win, and any grantsyou receive for your business, will normally betaxable as income. Always seek advice from theawarding body to establish the tax status of theprize, award or grant. Where grants are receivedto assist you in purchasing assets for your business, the grant is treated as a deductionfrom the cost of the asset, and capitalallowances can be claimed on the ‘net’ amount.

What if you are self-employed but are also employed?

You may be both employed and self-employedat the same time. If your self-employment givesrise to a loss, this loss may be set against yourother income, including any employmentincome; where tax has been deducted atsource, e.g. under PAYE, you may be able toclaim a tax refund. If you make trading losses in your self-employment, you may be able toutilise the losses.

Do you need to register for Value Added Tax (VAT)?

You must register for VAT if your annual turnover(i.e. the value of goods or services supplied)exceeds the registration limit, which at 1 April2005 was £60,000. However, you may registervoluntarily even if your turnover does not exceed the registration limit.

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Training and development schemes

There are a wide range of training and development schemes for visual and appliedartists; many offer training in basic businessskills and in how to develop your creative work.It is worth researching the opportunities sectionson relevant websites e.g. the Crafts Councilwebsite and a-n (The Artists InformationCompany)’s website, and in arts-based magazines.

Grants

A variety of grants are available to designer-makers. Research these carefully – some areregion- or media-specific, others are more general. A selection is listed below (for furtherinformation on each organisation, see chapter 25, ‘Information Resources’):

Arts Council England (www.artscouncil.org.uk)

The Crafts Council (www.craftscouncil.org.uk)

The David Canter Memorial Fund

Edward Marshall Trust (www.edtrust.org.uk)

The Inches Carr Trust

NESTA (the National Endowment for Science,Technology and the Arts) (www.nesta.org.uk)

The Prince’s Trust (www.princes-trust.org.uk)

The Queen Elizabeth Scholarship Trust(www.qest.org.uk)

The Scottish Arts Council(www.scottisharts.org.uk)

Wingate Scholarships(www.wingate.org.uk/overview.htm)

The Winston Churchill Memorial Trust(www.wcmt.org.uk)

In addition, many City livery companies make grants. For a full listing of livery companies, visit www.fishhall.co.uk.

Academic research

The academic world is a major resource fordesigners and artists, providing a nurturing andstimulating environment for the development ofartistic and design-based practice and processes through a range of fellowships and funded research schemes.

Opportunities include funded postgraduateresearch (full or part-time), doctoral or other academic awards, research fellowships, shortperiods of funded, non-qualification-basedresearch, and longer-term residencies in highereducation settings, sometimes financed by charitable trusts and foundations.

A noticeable shift in postgraduate study in theart and design field has taken place in the pastdecade. Many higher education institutions nowsupport practice- or performance-basedresearch programmes. These allow artists anddesigners to pursue their studio practice within aresearch framework and with the institution’sbroader support. The balance between researchbenefits to the institution and professional benefitto the artist or designer tends to be negotiated in each individual situation.

Several universities and art institutions (including The Royal College of Art in London,Goldsmith’s University, WolverhamptonUniversity, Leeds University, University of Walesin Cardiff, and Derby University) have developedcentres of research in visual and performancearts. These coordinate the sourcing of funding,draw up objectives for research at the institutions, facilitate research, recruit staff and Fellows who can supervise practice and also contribute to the research in the department.

Residencies

Residencies aim to give artists and designerstime to focus and develop their practice, allowing space for personal creative explorationand experimentation and offering profiling andcareer development. However, the sponsors and programmers expect something in return for

The following are among the organisations offering information and support:

AA2A (Artists’ Access to Art Colleges)(www.AA2A.org)

a-n (The Artists Information Company) (www.a-n.co.uk )

Artquest (www.artquest.org.uk)

Arts Council England (www.artscouncil.org.uk)

Crafts Council (www.craftscouncil.org.uk)

Clerkenwell Green Association (www.cga.org.uk)

Cockpit Arts (www.cockpitarts.com)

Creative People (www.creativepeople.org.uk)

Design Initiative (www.designinit.org.uk)

The Design Trust (www.designtrust.co.uk)

Devon Guild of Craftsmen (www.crafts.org.uk)

East Street Arts (www.esaweb.org.uk)

ECCA (www.ecca-london.org)

The National Glass Centre (www.nationalglasscentre.com)

NESTA (www.nesta.org.uk)

The Prince’s Trust (www.princes-trust.org.uk)

Scottish Arts Council (www.scottisharts.org.uk)

Society of Designer Craftsmen (www.society-ofdesignercraftsmen.org.uk)

Yorkshire Artspace (www.artspace.org.uk)

For further information on each organisation, see chapter 25, ‘Information Resources’.

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24. Continuing Professional Development

Continuing ProfessionalDevelopment

Continuing Professional Development(CPD) is about developing your skills,

your artistic practice and your businessat a range of different levels.

This chapter, which should be read inconjunction with chapter 2, ‘First Steps’,

outlines some ways to do this.

CPD is an on-going process and can take place at any time in a designer or designer-maker’s career. It involves a variety of activities,from meeting with colleagues to discuss a project or commission to enrolling on a college course.

Many professional development initiatives aredesigned to help establish suitable conditionsfor practitioners to make and distribute work orto provide tailored training. The emphasis isoften on developing sound business practiceand the skills that designers and makers need to help them survive. For example, some organisations offer book-keeping courses and marketing advice or the support of a business mentor.

Different forms of support availableA wide range of organisations offer differentforms of support – both direct and indirect; it pays to research the sector and the opportunities on offer. Visit each organisation’swebsite to see if it is relevant; follow up anyleads which you think may help you and yourbusiness. Some of the different forms of CPD areoutlined below.

Networks/discussion groups

The idea of life outside the security of university/college can be daunting, so it is reassuring to have some form of support network where you can discuss common problems. Joining a network will alleviate some of the isolation you can feel when working on your own and will show you that youare not alone.

You can either form informal networks withfriends and/or colleagues or join a formal organisation such as a guild/association.Professional networks can ensure that work gets out of the studio and attracts the attentionof galleries, commissioners and buyers. Seewhether there are publicly-funded galleriesand/or artist-run initiatives in your area; tap in to these networks. Write to ask to be put on the mailing lists of the larger galleries; makeyourself known to any artist-run spaces.

Setting-up schemes

Several organisations run setting-up schemesdesigned to support makers and designersstarting out in business. These often includegrants for equipment and maintenance, professional support and training in business skills.

The Crafts Council Development Award, the UK’s longest running applied arts start-upscheme, is open to anyone who has set up abusiness in the applied arts within the last 3years. The Scottish Arts Council’s Start-upScheme is specifically designed to encouragenew makers set up business in Scotland. Otherorganisations running similar schemes includeDesign Initiative, which runs The Setting UpScheme (funded by Arts Council England NorthWest) supporting visual artists and makers innew creative businesses in North West England.

Incubator schemes

These kinds of opportunity are an investment inpotential and provide a nurturing and profes-sional environment for newcomers as well asmid-career artists. They usually provide free orsubsidised studios for start-up businesses,which, coupled with financial awards andaccess to mentors, provide the necessary timeand space to fine-tune new work and products.They may also offer ongoing business trainingand exhibition/marketing opportunities.

Organisations running these schemes include Yorkshire Artspace (Sheffield), Cockpit Arts (London), The Clerkenwell GreenAssociation (London), The National Glass Centre(Sunderland), East Street Arts (Leeds) and theCrafts Council, whose Next Move scheme offersa two-year placement for MA/BA graduates at selected colleges.

providing fees, studio space, accommodationand a production budget. Interface with thepublic in some form or another is an inherentpart of many residencies. Some residenciesrequire the artist or designer to hold workshops,talks or open studio events alongside doing theirown work; others may have a lighter touch.

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competitions and seminars. Also provides professional advice to members.

Association of Photographers81 Leonard StreetLondon EC2A 4QST. 020 7739 6669F. 020 7739 8707E. general@aophoto.co.ukwww.the-aop.orgBrings professional photographerstogether, protecting their rights andpromoting photography. Also provides information services, education programmes, exhibitionsand publications to support these activities.

AXIS: All about artistsRound Foundry Media CentreFoundry StreetLeeds LS11 5QPT. 0870 443 0701F. 0870 443 0703E. info@axisweb.orgwww.axisweb.orgThe national database of artistsand makers presented online.Over 4,000 artists presented,together with over 16,000 imagesof their work. The comprehensivesearch engine is used by manycommissioners of work to sourceartists/makers for a wide range ofproducts. The service is promotedto many different trade/consumeraudiences and receives over35,000 visitors each month. Onlineapplication available via the website. Paper application formscan be obtained by calling thenumber above.

British CouncilArts Group10 Spring GardensLondon SW1A 2BN T. 020 7389 3194 F. 020 7389 3199 E. artsweb@britishcouncil.orgwww.britishcouncil.org/artsThe UK’s international organisationfor cultural relations and educational opportunities. It operates arts, education, governance and science programmes in 110 countriesworldwide. Arts Group presentsthe best of UK arts, design andcreative industries overseas inorder to enhance and increaseinternational appreciation of theUK’s creative achievements and to create stronger ties betweenBritain and other countries.

British Design Initiative (BDI)6 Blenheim PlaceBrighton BN1 4AET. 01273 621 378F. 01273 622 144E. info@britishdesign.co.ukwww.britishdesign.co.ukAssists design businesses promote themselves to designbuyers, raise their professionalstandards and recruit staff.

British Institute of ProfessionalPhotography (BIPP)Fox Talbot House2 Amwell EndWareHertfordshire SG12 9HNT. 01920 464 011F. 01920 487 056E. bippware@aol.comwww.bipp.com

An international, non-profit organisation representing professional photography. As thequalifying body for professionalphotographers and technicians it awards world-recognised qualifications. It has an onlineguide to careers in photography.

Chartered Society of Designers5 Bermondsey Exchange179-181 Bermondsey StreetLondon SE1 3UWT. 020 7357 8088F. 020 7407 9878E. csd@csd.org.ukwww.csd.org.ukThe world’s largest membershiporganisation for designers.Services range from advice oncopyright and design protection,information service and library, discounts on magazine subscriptions, supplies, museum and gallery membership,and a nation-wide programme oftraining seminars.

Craft Potters Association of Great Britain25 Foubert’s PlaceLondon W1F 7QFT. 020 7437 6781F. 020 7287 9954E. cpa@ceramicreview.comFormed as a co-operative to sellthe work of its members and toincrease public awareness of contemporary studio pottery.

Crafts Council44a Pentonville RoadLondon N1 9BYT. 020 7806 2500F. 020 7837 6891www.craftscouncil.org.uk/guideThe national organisation for contemporary crafts in England

and Wales. The London premiseshave a craft gallery with continuousexhibitions, and an extensiveInformation and Reference Centre.The Crafts Council also takesorganised groups of British makersto trade fairs in Europe andAmerica and runs One Year On at the New Designers trade fair.

Creative & Cultural Skills11 Southwark StreetLondon SE1 1RQT. 020 7089 5866F. 020 7089 5857E. info@ccskills.org.ukwww.cciskills.org.ukThe sector skills council for advertising, crafts, cultural heritage, design, music, performing, literary and visual arts.

Creative PeoplePO Box 2677Caterham CR3 6WJT. 01883 371 112F. 01883 371 112E. info@creativepeople.org.ukwww.creativepeople.org.ukA virtual network of organisationsoffering a wealth of information onresources and events, workshops,conferences, courses, mentoringschemes, critical appraisal services and online tool kits.

D&AD9 Graphite SquareLondon SE11 5EET. 020 7840 1111F. 020 7840 0840E. info@dandad.co.ukwww.dandad.orgA professional association andcharity working on behalf of thedesign and advertising communities. Its remit is to setstandards of creative excellence,

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25. Information Resources

InformationResources

Before you contact anorganisation listed below,

look at its website, which islikely to provide appropriate

contact information.

Art and designassociations offering businessadvice and supportACID (Anti Copying In Design)Unit 14Staunton Court Business ParkLedbury RoadStauntonGloucestershire GL19 3QST. 0845 644 3617 F. 0845 644 3618 E. help@acid.uk.comwww.acid.uk.comACID, an international, hard-hittingmember organisation committed tofighting copyright theft, activelyhelps to protect its members fromthe potentially devastating financialdamage inflicted by copyrightinfringement. It has a broad, influential membership base drawn from many diverse sectors.ACID’s powerful logo has becomea recognised symbol of deterrencewithin the design industry.

Art Shape Limited26 Station RoadGloucester GL1 1EWT. 01452 541 145F. 01452 541 145E. info@artshape.co.ukwww.artshape.co.ukAims to help adults in their personal and professional artisticdevelopment, particularly thosefacing barriers to participation.

Artists’ Access to Art Colleges(AA2A)E. aa2a@work.anorak.org.ukwww.aa2a.org

A national scheme providing visual artists and designer-makerswith the opportunity to undertake aperiod of research or realise a project using workshop and supporting facilities in fine art anddesign departments of Higher andFurther Education institutions.Currently 18 colleges in Englandhost the AA2A scheme, and eachoffers places to four artists or makers.

a-n (The ArtistsInformation Company)1st Floor7-15 Pink LaneNewcastle upon Tyne NE1 5DWT. 0191 241 8000F. 0191 241 8001E. info@a-n.co.ukwww.a-n.co.ukResource for artists with instantfree access to case studies, professional development advice,career strategies, international contacts and [a-n] Forum. A unique space for artists to seek and exchange advice on professional matters. Also runsArtists Professional DevelopmentNetwork (www.apd-network.info), aUK-wide intelligence andexchange forum for visual andapplied artists.

Arts AdviceT. 0800 093 0444E. web@metier.org.ukwww.artsadvice.comLearn Direct website providinginformation connected with working as a self-employed freelancer, or setting up and running your own business, plusjobs, courses, funding and a freephone ‘ask an advisor’ service.

Arts Council England14 Great Peter StreetLondon SW1P 3NQT. 0845 300 6200E. enquiries@artscouncil.org.ukwww.artscouncil.org.ukArts Council England is the national development agency forthe arts in England, distributingpublic money from theGovernment and the NationalLottery. There are 9 regional officescovering between them the wholeof England, which can provide awealth of information on businessstart-up, local projects and funding, as well as networking andexhibiting opportunities. For detailsof regional offices, visit the ArtsCouncil website.

Assay OfficeGoldsmiths HallGutter LaneLondon EC2V 8AQT. 020 7606 8975F. 020 7814 9353E. admin@londonassayoffice.co.ukwww.thegoldsmiths.co.ukOrganisation which promotes and advises goldsmiths and silversmiths and provides information on hallmarking regulations, trade training events, exhibitions and a library service.

Association of Illustrators2nd Floor, Back Building150 Curtain RoadLondon EC2A 3ART. 020 7613 4328F. 020 7613 4417www.theaoi.comRepresents and campaigns for illustrators’ rights in the UK.Website has online gallery,

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Rural Crafts AssociationHeights CottageBrook RoadWormley, GodalmingSurrey GU8 5UAT. 01428 682 292F. 01428 685 969E. ruralcraftsassociation@btinternet.comwww.rural-crafts-association.comA national organisation providingadvice and support for rural craftspeople.

Society of Designer Craftsmen24 Rivington StreetLondon EC2A 3DUT./F. 020 7739 3663E. info@societyofdesignercraftsmen.org.ukwww.societyofdesignercraftsmen.org.ukThe largest and oldest membership organisation fordesigner-makers in Britain.

The Textile Institute1st FloorSt. James’s BuildingsOxford StreetManchester M1 6FQT. 0161 237 1188F. 0161 236 1991E. tiihq@textileinst.org.ukwww.texi.orgProvides useful information on textile resources, networking and exhibitions.

Regionalresources for creative industriesSouth WestArtsMatrixArts Council England, South WestBradninch PlaceGandy StreetExeter EX4 3LST. 01392 229 258F. 01392 229 229E. matrix.sw@artscouncil.org.ukwww.artsmatrix.org.ukA consortium of arts organisationsand trainers led by Arts CouncilEngland, South West, and allbased in the South West region of England. Partners represent therange of different arts and craftspractitioners living and working inthe region, providing accessibleprofessional development information and guidance.

Creative Skills73 Lemon StreetTruroCornwall TR1 2PNT. 01872 273 344F. 01872 260 827E. admin@creativeskills.org.ukwww.creativeskills.org.ukProfessional development support agency for creative industries across Cornwall. Offerstraining, individual advice, seminars and business mentoring.

Devon Guild of CraftsmenRiverside MillBovey TraceyDevon TQ13 9AFT. 01626 832 223F. 01626 834 220E. devonguild@crafts.org.ukwww.crafts.org.uk

The leading contemporary craftsorganisation in the South West,with a £1 million refurbishedgallery, craft shop and The Terracecafé in Riverside Mill. Exhibition opportunities, large retail space,professional development, marketing opportunities, workshops and events.Membership open to workingcraftspeople from throughout theSouth West, west of a line fromBristol to Southampton.

EQUATABradninch PlaceGandy StreetExeter EX4 3LST. 01392 219 440F. 01392 219 441E. info@equata.co.ukwww.equata.co.ukA disability arts developmentagency for the South West region.

Hidden Art CornwallT. 01326 370 756E. vic.machon@falmouth.ac.uk www.hiddenartcornwall.co.ukA pilot franchise which operatesfrom Falmouth College of Arts’Design Centre in Cornwall, whichseeks to replicate the innovativeHidden Art model of support services for designer-makers thathas successfully developed overthe past decade in East London.See Hidden Art entry for further details.

London & South EastACAVA54 Blechynden StreetLondon W10 6RJT. 020 8960 5015F. 020 8960 9269E. learnskills@acava.orgwww.acava.org

London studio provider running professional practice and enterprise training programmes, digital arts courses for London-based artistsand First Base scheme, whichoffers new graduates free studiosfor a year with professional and technical support.

All Ways LearningSussex InstituteUniversity of SussexFalmerBrighton BN1 9QQT. 01273 872 655E. info@allwayslearning.org.ukwww.allwayslearning.org.ukA consortium of organisations inthe South East, which aims to promote and provide continuousprofessional development for those involved in arts and cultural management.

Artist ResourceFabrica40 Duke StreetBrighton BN1 1AGT./F. 01273 778 646E. ar@fabrica.org.ukwww.artistresource.org.ukA free drop-in information centre,organising events and providingone-to-one advice programmes to support the professional development of visual artists, arts managers and educators in the South East.

ArtquestUniversity of the Arts London65 Davies StreetLondon W1K 5DAT. 020 7514 6493F. 020 7514 6211E. info@artquest.org.ukwww.artquest.org.uk

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25. Information Resources

to promote this concept in thebusiness arena and to educateand inspire the next creative generation. It also runs professional practice training fordesigners. The D&AD Awards,familiarly known as the YellowPencils, set the internationalbenchmark for the very best indesign and advertising.

DACS (Design and ArtistsCopyright Society)33 Great Sutton StreetLondon EC1V 0DXT. 020 7336 8811F. 020 7336 8822E. info@dacs.co.ukwww.dacs.co.ukAn independent non-profit-makingsociety open to all artists and photographers, irrespective of theartistic discipline in which theypractise. DACS acts for and onbehalf of visual artists in matters of copyright in the UK.

The Design Business Association(DBA)35-39 Old StreetLondon EC1V 9HXT. 020 7251 9229F. 020 7251 9221E. enquiries@dba.org.ukwww.dba.org.ukAs trade association for the design industry, the DBA helpsraise the professional standards of design companies.

The Design Council34 Bow StreetLondon WC2E 7DLT. 020 7420 5200F. 020 7420 5300E. info@designcouncil.org.ukwww.designcouncil.org.uk

Promotes the value of effectivedesign to UK industry and aims toinfluence government policy toinspire the best use of design bythe UK in order to improve prosperity and quality of life.

DesignGAP607b the Big Peg120 Vyse StreetHockleyBirmingham B16 6NFT./F. 0121 242 0242T./F. 0121 242 0900E. info@designgap.co.ukwww.design-gap.co.ukwww.DesignMixWestMidlands.co.uk2005 marks DesignGAP’s 25 years of assisting artist-makers and designer-producers in the promotional marketing of theirwork. Projects include designatedDesignGAP areas of individual andgroup stands at many major tradeand retail fairs, a large website andan annual illustrated trade directoryfeaturing 200 or more members.

Design-NationSee the entry for The Design Trust(below)

The Design Trust41 Commercial RoadLondon E1 1LAT. 020 7320 2895F. 020 7320 2889E. petalevi@designnation.co.ukrachelmoses@designnation.co.ukwww.thedesigntrust.co.ukwww.designnation.co.uk www.eurekacollection.co.ukThe Design Trust, a charity, promotes the excellence of Britishdesign, using the name ‘Design-Nation’, through its catalogue and website as well as

through the retail-led Eureka project. It also provides businessguidance through its educationalwebsite and the Business Start-upGuide for Designers and Makers.The Design Trust now operates in partnership with LondonMetropolitan University.

EQSuite E229Dean CloughHalifaxWest Yorkshire HX3 5AXT. 01422 381 618F. 01422 380 719E. hello@thinkeq.org.ukwww.thinkeq.org.ukA national equality and diversity agency working in the creative industries.

Ideas FactoryE. enquiries@ideasfactory.comwww.ideasfactory.comPractical information, advice andforums for people involved in thecreative industries. The businesszone includes information aboutstarting and running your own business.

Inspired Recyclingc/o London Remade1 Quality CourtChancery LaneLondon WC2A 1HRT. 020 7061 6369F. 020 7061 6391E. info@inspiredrecycling.orgwww.inspiredrecycling.orgProvides tailored assistance fordesigners, inventors and entrepreneurs wanting to designand manufacture products fromrecycled materials.

Manufacturing Advisory ServiceE. mas@inbis.comwww.mas.dti.gov.ukWebsite designed to help UK manufacturers, large and small,identify sources of manufacturingrelated support. See website fordetails of regional centres.

National Glass CentreLiberty WaySunderland SR6 0GLT. 0191 515 5555F. 0191 515 5556E. info@nationalglasscentre.comwww.nationalglasscentre.comA cultural centre dedicated to theexploration, creation and promotion of glass. The venue supports creativity in glass through a diverse programme of exhibitions, talks, tours, hot glass demonstrations, workshops and glass production facilities.

The Printmakers Council (PMC)Ground Floor Unit23 Blue Anchor LaneLondon SE16 3ULT. 020 7237 6789 (Wednesdays 14.00 – 18.00)E. pmcbox@printmaker.co.ukwww.printmaker.co.uk/pmcPromotes the art of printmakingand the work of contemporaryprintmakers and organises exhibitions throughout the UK and internationally. Membershipopen to all printmakers, students,and interested parties.

Regional Crafts Guilds and PottersAssociationsContact your local Arts Counciloffice or the Crafts Council fordetails.

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E. info@ecca-london.orgwww.ecca-london.orgBusiness start-up services to creative industries based acrossLondon include one-to-one advice,online information, funding helpand advice, events and networkingopportunities.

Education through Art11 Markwick TerraceSt Leonards on SeaEast Sussex TN38 0RET. 01424 461 232E. info@eta-art.co.ukwww.eta-art.co.ukCreates professional developmentopportunities (mentoring schemesand training programmes) for visual artists based in the South East.

Furniture WorksManufacture and Business Centre41 Commercial RoadLondon E1 1LAT. 020 7320 1827E. furnitureworks@londonmet.ac.ukwww.furnitureworks.org.ukAn integral part of LondonMetropolitan University’s Sir JohnCass Department of Art, Mediaand Design, Furniture Works provides professional facilities, services and courses for designersand manufacturers of furniture, furnishings and interiors.Arrangements for using the widerange of facilities and services(prototyping; small batch manufacture; research access to the Frederick Parker Collectionof chairs; library and researchresources; technical and businessconsultations; short courses andworkshop access sessions) are tailored to suit individual business needs.

Hidden ArtSee the entry for Mazorca Projects(below)

London Design FestivalThe Gymnasium56 Kingsway PlaceLondon EC1R 0LUT, 020 7014 5313F. 020 7014 5301E. info@londondesignfestival.comwww.londondesignfestival.comEstablished in 2003 as an annualinternational event to celebrate andpromote London and the UK’s creativity.

Mazorca Projects (trading asHidden Art)Ground Floor RearShoreditch Stables138 Kingsland RoadLondon E2 8DYT. 020 7729 3800F. 020 7729 3377E. info@hiddenart.co.ukwww.hiddenart.co.ukHidden Art is a membershiporganisation that supports and promotes designer-makers, whileoffering companies and membersof the public access to originaldesign. Hidden Art’s aim is toimprove access to information,enable the exchange of ideas andexpertise and offer a platform fordesigner-makers to exhibit and sell work to key markets and the public.

Own ItUniversity of the Arts LondonThe London College ofCommunicationElephant and CastleLondon SE1 6SBT. 020 7514 7985F. 020 7514 8896E. info@own-it.orgwww.own-it.orgOwn It provides free intellectualproperty advice, free events, information, access to lawyers andadvice for London’s creative people on copyright, design rights,patents, trademarks, branding,confidentiality agreements, licensing, royalties and contracts.Own It is a partnership projectbetween Creative London and theUniversity of the Arts London.

SpaceThe Triangle129-131 Mare StreetLondon E8 3RHT. 020 8525 4330F. 020 8525 4342E. mail@spacestudios.org.ukwww.spacestudios.org.ukStudio organisation in London providing over 450 workspaces to visual artists, providing a range of services.

EastCommissions EastSt Giles HillPound HillCambridge CB3 0AET. 01223 356 882F. 01223 356 883E. info@commseast.org.ukwww.commseast.org.ukDelivers a range of activities for professional artists, including public commissions, residenciesand fellowships. A three-year professional development programme offers information,advice, regional mentoring schemeand training opportunities for visualartists in Eastern England.

Making Art WorkSuffolk County Council Librariesand HeritageSt Andrew HouseCounty HallIpswich IP4 1LJT. 01986 798 220E. candid@lineone.netwww.suffolkcc.gov.uk/libraries/arts/arts_service.htmlProfessional development schemefor visual artists in Suffolk. Servicesinclude training and networkingdays; one-to-one advice; mentoring for selected practitioners. Financial supportavailable for projects developedthrough the scheme and forexpenses for participating artistsclaiming benefits or with specialaccess needs.

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Comprehensive advice and information service for London’svisual arts professionals includingpresentation and selling of work;research and development of newwork; funding advice and fundingsources and ongoing professionaldevelopment and training. Runs atelephone and email helpline, one-to-one advice sessions and an ongoing programme of trainingseminars. The website has information on materials andequipment outlets, studios andresources, agents, marketing andpromotion. Also runs Q&A, a freelegal advice service for artists andcraftspeople living and working in England.

ArtsworkFairways HouseMount Pleasant RoadSouthampton SO14 OQBT. 023 80 630 960F. 023 80 632 949E. info@artswork.demon.co.ukwww.artswork.org.ukAn independent youth arts development agency committed to developing creative opportunities for young people aged 12-25.

Aspex Artists’ Resource Centre (ARC)Aspex Gallery27 Brougham RoadPortsmouth PO5 4PAT. 023 92 812 121E. resource@aspex.org.ukwww.aspex.org.ukAims to develop a strong network of artists and encouragethe sharing of information andideas, and runs a programme of

events including one-to-one surgeries, professional development seminars and critique groups.

Clerkenwell Green AssociationPennybank Chambers33-35 St. John’s SquareLondon EC1M 4DST. 020 7251 0276F. 020 7250 0297E. info@cga.org.ukwww.cga.org.ukA charity working to support andpromote fine craft and design. The Association provides over 80 full and part-time studios for practising craftspeople. Initiativesinclude a quarterly programme ofessential business support andregular exhibitions showcasingdesigner-makers to as wide anaudience as possible, includingtwo much acclaimed events,‘Clerkenwell Dressed’ and ‘Made in Clerkenwell’.

Cockpit ArtsCockpit YardNorthington StreetLondon WC1N 2NPT. 020 7419 1959F. 020 7916 2455E. info@cockpitarts.comwww.cockpitarts.comThe largest provider of workspaceand business support for designer-makers in London. It has two centres in Holborn, WC1 andDeptford, SE8, housing a total of150 makers. Business support fordesigner-makers includes theDeveloping Professional Practiceprogramme, a year-long trainingcourse for designer-makers running their own micro-businesses. The training aims

to increase the viability of these businesses by providing one-to-one consultations as well as groupseminars. Also available is theDesigner-Makers in Action programme, a series of one-dayteacher training workshops thatinvolve established designer-makers transferring their creativeskills and processes directly toteachers. Courses are also available for the general public.

CreativeCapitalPlatform 33 Wilkes StreetLondon E1 6QFT. 020 7375 2973F. 020 7375 0189E. info@creative-capital.org.ukwww.creative-capital.org.ukAn advice and information servicefor artists and arts professionalswho live and work in London.

The Creative Enterprise Initiative(CEI)Business Development UnitThe Surrey Institute of Art &Design, University CollegeFalkner Road, FarnhamSurrey GU9 7DST. 01252 722 441F. 01252 892 616E. cei.info@surrart.ac.ukwww.cei.surrart.ac.ukPart of the Business DevelopmentUnit at the Surrey Institute of Art &Design, CEI offers support to creative graduates and entrepreneurs who are developingor have recently started a creative business. The website provides a forum for creative professionals,with a directory of relevant links,start-up information and an eventspage. CEI organises BusinessStart-up Workshops, which are

open to all creative entrepreneursliving and working in the SouthEast, and has a Resource Centrewhere individuals can meet creative business specialists in order to discuss and develop business ideas.

Creative LondonLondon Development AgencyDevon House58-60 St Katharine’s WayLondon E1W 1JXT. 020 7954 4189E. info@creativelondon.org.ukwww.creativelondon.org.ukWorks to promote and develop the diversity, depth, quality andenergy of the creative industries in London.

Cultural Industries DevelopmentAgency (CIDA)Business Development Centre7-15 Greatorex StreetLondon E1 5NFT. 020 7247 4710F. 020 7247 7852E. info@cida.co.ukwww.cida.co.ukCIDA is a specialist organisationthat supports the creative and cultural sector in East London.Offers business advice, training,networking opportunities and amonthly e:newsletter.

ECCA (Enterprise Centre for theCreative Arts)London College of CommunicationUniversity of the Arts LondonElephant and CastleLondon SE1 6SBT. 020 7514 7985F. 020 7514 8896

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CIDS works to help new and established creative businesses in Manchester, while also taking astrategic overview of the sector,developing new projects inresponse to industry needs. CIDSoffers a free information service forcreative businesses and publishes‘Creative News’, a tri-annual magazine with an accompanyingmonthly email update.

East Street ArtsPatrick StudiosSt Mary’s LaneLeeds LS9 7EHT. 0113 248 0040F. 0113 248 0030E. info@esaweb.org.ukwww.esaweb.org.ukA visual arts organisation operating in Leeds, founded tomeet the need of practitionersworking in a range of disciplines at different stages in their careers.Provides studio space as well astailored training and professionaldevelopment programmes.

Liverpool and Manchester DesignInitiative

Liverpool OfficeThe Tea Factory82 Wood StreetLiverpool L1 4DQT. 0151 709 1566F. 0151 707 8386

Manchester Office5 Oak StreetNorthern QuarterManchester M4 5JDT. 0161 834 3722F. 0161 834 3723E. info@designinit.org.ukwww.designinit.org.uk www.designbank.org.uk

The Design Initiative offers one-to-one portfolio sessions to designgraduates starting up in business.Sessions include advice on portfolio content, presentation, promoting and marketing productsand services and identifying market opportunities.

Liverpool Centre for ArtsDevelopment Training2a Franceys Streetoff Brownlow HillLiverpool L3 5YQT. 0151 707 1404F. 0151 709 7102E. info@lcad.org.ukwww.cadt.org.ukProvides business support for art and design businesses inMerseyside and the North Westregion. Services include smallbusiness counselling, the uniquevocational arts management programme, women into arts andcultural management, project management, small businessdevelopment consultancy,European Computer DrivingLicence and coaching/mentoring.

Merseyside ACMEUnit 303Vanilla Factory39 Fleet StreetLiverpool L1 4ART. 0151 708 4509E. info@merseysideacme.comwww.merseysideacme.comSupports and develops the creative industries sector on Merseyside.

Public ArtsThe OrangeryBack LaneWakefield WF1 2TGT. 01924 215 550F. 01924 215 560E. contact@public-arts.demon.co.ukwww.public-arts.co.ukPublic art commissioning and consulting agency working inYorkshire and beyond. RunsPeople Making Places, an architecture, art and built environment project designed to improve capacity for high-quality development by linking communities, artists and designprofessionals. Offers integratedprogramme of workshops, seminars, site visits, skillsexchange, residencies, virtual and print publications, exhibitionsand research.

Re:work Creative EnterprisesArts and Crafts CentreBroad StreetBury BL9 0DAT. 0161 253 6155F. 0161 253 6173E. creativeindustries@bury.gov.ukwww.rework.org.ukSupports individual artists and creative businesses based in Bury.Offers advice, workspace, trainingand seminar events. Visit the website for details of opportunitiesand an online showcase of artists.

Yorkshire ArtSpacePersistence Works21 Brown StreetSheffield S1 2BST. 0114 276 1769F. 0114 276 1769E. info@artspace.org.uk

www.artspace.org.ukStudio provider offering professional development andbusiness support to studio holdersand other artists and makers in thecity. Starter Studio programme provides two-year ‘comfort period’for new and emerging visual artists and makers.

North EastCommissions NorthArts Council England, North EastCentral SquareForth StreetNewcastle upon Tyne NE1 3PJwww.commissionsnorth.orgCommissions North provides ashowcase for contemporary publicart commissions in the North ofEngland plus advice, informationand brokerage for clients.

Northern Cultural Skills Partnership (NCSP)Holy Jesus HospitalCity RoadNewcastle upon Tyne NE1 2AST. 0191 233 3860F. 0191 233 3861E. enquiries@ncsp.co.ukwww.ncsp.co.ukA partnership of cultural sectorprofessionals and public bodiesset up to support professionaldevelopment and business support needs in the North East.Offers training bursaries to individuals and funding to support the development of regional cultural networks. Anonline Professional DevelopmentTool Kit signposting users to relevant training and educationopportunities is available on the website.

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MidlandsArts Council England, East MidlandsSt Nicholas Court25-27 Castle GateNottingham NG1 7ART. 0845 300 6200F. 0115 950 2467E. eastmidlands@artscouncil.org.ukwww.artscouncil.org.ukThe regional office of the nationaldevelopment agency for the arts, it provides financial backing toenable people to enjoy, participatein and be stimulated by a widerange of arts activities, some ofwhich reflect the cultural diversity of the region.

Bilston Craft GalleryMount PleasantBilstonWolverhampton WV14 7LUT. 01902 552 507E. bilstoncraftgallery@dial.pipex.comwww.wolverhamptonart.org.ukThe largest publicly funded venuein the West Midlands dedicated tothe applied arts, with a programmeof temporary exhibitions featuringautomata, ceramics, jewellery,glass, textiles and woodwork bynational and regional makers.Other facilities include: First Floor, acommunity gallery for hire to mak-ers for exhibitions of craft and art; a jewellery workshop; the craftworkshop room for practical craftsessions; Craftplay, an award-winning sensory gallery for pre-school children; Craftsense, a new permanent exhibition, and extensive educational programmes.

Brilliantly Birminghamwww.brilliantlybirmingham.comBrilliantly Birmingham showcasesthe work of local, national andinternational designers through afull programme of exhibitions, fairs,workshops and special events.This international contemporaryjewellery festival is a unique showcase for artists and other individuals involved in selling andcreating jewellery in Birminghamand the West Midlands.

Craftspace TouringUnit 208 The Custard FactoryGibb Street,Birmingham B9 4AAT. 0121 608 6668F. 0121 608 6669E. info@craftspace-touring.co.ukwww.craftspace-touring.co.ukCraftspace Touring arranges touring craft and design exhibitions. It also offers a range of advisory services in arts andaudience development, educationand lifelong learning initiatives,exhibition development and touring. Current priorities are South Asian crafts development,rural touring and crafts in relation to disability.

Design FactoryUnit 7 & 8 Navigation WharfCarre StreetSleafordLincolnshire NG34 7TWT. 01529 414 830/414 532E. info@designfactory.org.ukwww.designfactory.org.ukThe regional champion for craft, design and manufacturingindustries, providing a collectivevoice associated with high qualityand innovation. Design Factory

raises the profile and createsopportunities for designer-makersand manufacturers and providesmarket and business developmentsupport, offering an ambitious programme of opportunities, toinnovate and encourage the commercial and successful growth of creative businesses.

FASED (Freelance And SelfEmployed Disabled people in theArts)PO Box 177Nottinghamshire NG3 5SUE. membership@fased.orgwww.fased.orgA membership organisation run by disabled arts professionals,dedicated to furthering opportunities, networks and training for disabled arts people living in the East Midlands(Nottinghamshire, Derbyshire,Northamptonshire andLincolnshire).

Midwest111 GreenhouseThe Custard FactoryGibb StreetBirmingham B9 4AAT. 0121 224 7435E. info@midwest.org.ukwww.midwest.org.ukProfessional development organisation creating networks,events and opportunities for visualartists across the West Midlands.

North & North WestArt ConnectionsThe Art DepotAsquith Industrial EstateEshton Road, GargraveNorth Yorkshire BD23 3SET. 01756 749 848F. 01756 749 934

E. admin@art-connections.org.ukwww.art-connections.org.ukDevelops and supports creativebusinesses in the visual arts, craftsand public art sectors acrossNorth Yorkshire.

Castlefield Gallery2 Hewitt StreetKnott HillManchester M15 4GBT. 0161 832 8034F. 0161 819 2295E. info@castlefieldgallery.co.ukwww.castlefieldgallery.co.ukArtist-run gallery providing professional development supportand advice to artists and designers from North WestEngland. Includes artists’ monthlyforum for presentation andexchange of ideas and publicationof a free Artist’s Information Packwith details of studios, galleriesand support organisations.

Creative Industries DevelopmentAgency (CIDA)The Media CentreNorthumberland StreetHuddersfield HD1 1RLT. 01484 483 140F. 01484 483 150E. info@cida.org www.cida.orgProvides infrastructural support to the development of the creativesector in Yorkshire and the Humber region.

Creative Industries DevelopmentService (CIDS)1st Floor, The Department Store5 Oak StreetManchester M4 5JDT. 0800 169 1143F. 0161 834 3728E. info@cids.co.ukwww.cids.co.uk

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Northern IrelandArts Council of Northern IrelandMacNeice House77 Malone RoadBelfast BT9 6AQT. 028 90 385 200F. 028 90 661 715E. info@artscouncil-ni.orgwww.artscouncil-ni.orgThe lead development agency for the arts in Northern Ireland, providing support for artists andarts organisations throughout theregion, offering a broad range offunding opportunities throughTreasury and National Lottery funds.

British CouncilNorwich Union House7 Fountain StreetBelfast BT1 5EGT. 028 90 248 220 F. 028 90 237 592E. collette.norwood@britishcouncil.org See earlier entry for further details.

Republic of IrelandArtists’ Association of Ireland43 Temple BarDublin 2, IrelandT. 00 353 1 874 0529F. 00 353 1 677 1585E. info@artistsireland.comNational organisation with knowledgeable and helpful staffwho can provide information, contact numbers and websiteaddresses for a broad spectrum of arts-based groups and advisorybodies in Ireland and the UK.

Arts Council/An ChomhairleEalaíon70 Merrion SquareDublin 2, IrelandT. 00 353 1 618 0200F. 00 353 1 676 1302E. info@artscouncil.iewww.artscouncil.ieAn autonomous body aimed at stimulating public interest in and promoting the knowledge,appreciation and practice of the arts in Ireland. Commissionsresearch and undertakes a rangeof development projects.

Crafts Council of IrelandCastle YardKilkenny, IrelandT. 00 353 56 776 1804F. 00 353 56 776 3754E. info@ccoi.iewww.craftscouncil-of-ireland.ieThe Crafts Council of Ireland provides training workshops forpotters, jewellers, blacksmiths and other craftspeople. It also provides advice on retailing and business start-up.

National businessand advisoryservicesACAS (Advisory, Conciliation andArbitration Service)Brandon House180 Borough High StreetLondon SE1 1LWT. 08457 474747www.acas.org.ukFor advice on employment regulations and a selection of useful publications. See website for regional offices.

Briffa & Co.Business Design CentreUpper StreetIslingtonLondon N1 0QHT. 020 7288 6003F. 020 7288 6004E. info@briffa.comwww.briffa.comSolicitors specialising in intellectual property work and dedicated to the protection andgrowth of businesses through theprotection of copyrights, designs,patents, trade marks and tradesecrets. They offer an innovativemembership-based service calleddesignprotect which offers adesign log and many other benefits including cost-effectiveinsurance. Briffa have also developed many fixed price services and standard form documents that can be orderedonline direct from their website.

The British Chambers ofCommerce65 Petty FranceLondon SW1H 9EUT. 020 7654 5800F. 020 7654 5819E. info@britishchambers.org.ukwww.britishchambers.org.ukThe national voice for UK businesses. See website for details of regional chambers.

British Copyright Council29-33 Berners StreetLondon W1T 3ABT. 01986 788 122F. 01986 788 847E. secretary@britishcopyright.orgwww.britishcopyright.orgEstablished in 1965, this is anational consultative and advisorybody representing organisations ofcopyright owners and performersand others interested in copyright in the UK.

British Standards InstituteBritish Standards House389 Chiswick High RoadLondon W4 4ALT. 020 8996 9000F. 020 8996 7001E. cservices@bsi-global.comwww.bsi-global.comThe National Standards Body ofthe UK, responsible for facilitating,drafting, publishing and marketingBritish Standards and other guidelines. Free downloadablebusiness briefings available fromsmall business microsite.

The British Venture CapitalAssociation (BVCA)3 Clements InnLondon WC2A 2AZT. 020 7025 2950F. 020 7025 2951E. bvca@bvca.co.ukwww.bvca.co.ukThe public face of the private equity and venture capital sector,providing services to its members,investors and entrepreneurs aswell as the government and media.

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25. Information Resources

Shipley Art GalleryPrince Consort Road, Gateshead NE8 4JBT. 0191 477 1495E. shipley@twmuseums.org.ukwww.twmuseums.org.uk/shipleyHome to the broadest range ofcontemporary craft outsideLondon, as well a spectacular collection of fine art, the galleryalso has a regularly changing exhibition programme. It runs a full learning programme and is aresource centre for studio ceramics, rag rugs and NorthCountry quilting.

WalesArts Council of Wales (ACW)9 Museum PlaceCardiff CF10 3NXT. 029 20 376 500F. 029 20 221 447E. feedback@artswales.org.ukwww.artswales.org.ukACW is responsible for fundingand developing the arts in Walesand advising the Welsh AssemblyGovernment on issues associatedwith the arts. Its aims includedeveloping and improving theknowledge, understanding andpractice of the arts and increasingthe accessibility of the arts to the public.

Arts Disability WalesSbectrwmBwlch Road, FairwaterCardiff CF5 3EFT. 029 20 551 040F. 029 20 551 036E. arts.disability@btconnect.comwww.artsdisabilitywales.comWorks throughout Wales to

promote equal opportunities in thearts for disabled people, providingtraining, information and advice.

Arts Training WalesSbectrwmBwlch Road, FairwaterCardiff CF5 3EFT. 029 20 569 898F. 029 20 555 893E. admin@a-t-w.comwww.a-t-w.comAn independent organisation that provides advice and assistance to individuals andorganisations working in the arts inWales. Offers advice on trainingand development, careers adviceand information provision.

British Council28 Park PlaceCardiff CF10 3QE T. 029 20 397 346 F. 029 20 237 494 E. mary.tapley@britishcouncil.orgSee earlier entry for further details.

Cultural EnterpriseChapterMarket RoadCardiff CF5 1QET. 029 20 343 205F. 029 20 345 436E. mail@cultural-enterprise.comwww.cultural-enterprise.comSupport service for cultural sectormicro-businesses in Wales.Business mentors provide individual advice and informationto artists and makers planning abusiness or needing specialistadvice on funding, marketing,training or management issues.Publishes free weekly e-bulletin listing latest cultural industriesnews, opportunities and events.

ScotlandWasps Artists’ Studios77 Hanson StreetGlasgow G31 2HFT. 0141 554 8299F. 0141 554 7330E. info@waspsstudios.org.ukwww.waspsstudios.org.ukAn award-winning charity whichprovides affordable studio spacefrom the Scottish Borders to theShetland Isles.

British CouncilThe Tun, 3rd Floor4 Jackson’s EntryHolyrood RoadEdinburgh EH8 8PJ T. 0131 524 5714 F. 0131 524 5701 E. kate.burwell@britishcouncil.org See earlier entry for further details.

Creative Entrepreneurs’ ClubThe Lighthouse11 Mitchell LaneGlasgow G1 3LXT. 0141 225 8424F. 0141 221 6395E. stacey@thelighthouse.co.ukwww.creativeentrepreneurs.comThe network for the creative industries in Scotland. As well as providing a forum for discussionand cultivating contacts, the Cluboffers a unique way for people inthe creative industries to keep up to date with the sector andissues that affect it.

Cultural Enterprise OfficeCentre for Contemporary Arts350 Sauchiehall StreetGlasgow G2 3JDT. 0844 544 9990F. 0141 332 3226E. info@culturalenterpriseoffice.co.ukwww.culturalenterpriseoffice.co.ukBusiness support initiative based in Glasgow, Aberdeen, Dundeeand Edinburgh. Provides advice,information, and training for artsand cultural practitioners andmicro-businesses across all artforms. The website has details of seminars, training and networking events, extensiveresources and online businessinformation.

Scottish Arts Council12 Manor PlaceEdinburgh EH3 7DDT. 0845 603 6000F. 0131 225 9833E. help.desk@scottisharts.org.ukwww.scottisharts.org.ukThe Scottish Arts Council champions the arts for Scotland by fostering the arts through funding, development, researchand advocacy. It aims to increaseparticipation in the arts and support Scottish artists fulfil theircreative and business potential.

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Supports 18-30 year olds settingup in business. Provides variousforms of financial help, includinggrants and loans. See website for regional offices.

Small Business Service (SBS)Kingsgate House66-74 Victoria StreetLondon SW1E 6SWT. 020 7215 5000www.sbs.gov.ukAn executive agency under the umbrella of the DTI and instrumental in taking forward theGovernment Action Plan for SmallBusiness. SBS is involved in arange of initiatives designed tohelp small businesses be moreinnovative and exploit new technologies, secure finance and become more efficient, competitive and profitable. SBS also runs the Business Link website.

Small Firms Loan GuaranteeScheme (DTI)Level 2St. Mary’s Housec/o MoorfootSheffield S1 4PQT. 0845 001 0032F. 0114 279 4374E. sflgs@sbs.gsi.gov.ukwww.dti.gov.ukProvides a government guarantee for loans by approvedlenders. Loans are made to firmsor individuals unable to obtain conventional finance because of a lack of track record or security.The guarantee generally covers70% of the outstanding loan.

UK Patent OfficeConcept HouseCardiff RoadNewport NP10 8QQT. 08459 500 505F. 01633 813 600E. enquiries@patent.gov.ukwww.patent.gov.ukwww.intellectual-property.gov.ukResponsible for IntellectualProperty (copyright, designs,patents and trademarks) in the UK.

UK Trade & InvestmentKingsgate House66-74 Victoria StreetLondon SW1E 6SWT. 020 7215 8000F. 020 7828 1281E. inward.investment@uktradeinvest.gov.ukwww.uktradeinvest.gov.ukThe government organisation that supports companies in the UKdoing business internationally andoverseas enterprises seeking toset up or expand in the UK.

London & South EastBusiness Link for LondonLink House292-308 Southbury RoadEnfield EN1 1TST. 0845 600 0787F. 020 8443 7270www.bl4london.comPart of the national Business Linknetwork, delivering impartial,expert and practical businessadvice to London’s small andmedium-sized businesses.

East London Small Business CentreUniversal House88-94 Wentworth StreetLondon E1 7SAT. 020 7377 8821F. 020 7375 1415E. elsbc@goeast.orgwww.goeast.orgIndependent, not-for-profit organisation which actively helpsnew businesses to start up andexisting businesses to grow.Operates within areas of TowerHamlets, Newham, Barking and Dagenham, Redbridge and Havering.

oneLondon28 Park StreetLondon SE1 9EQT. 020 7403 0300F. 020 7248 8877E. info@one-london.comwww.one-london.comSouth London enterprise agency supports new and growing businesses in Lambethand Wandsworth with advice,courses and access to BusinessLink services. oneLondon alsooffers access to finance London-wide; it administers a loan fund for start-up and growing businessesand, as part of GLE, has closecontact with the London Business Angels network.

Portobello Business Centre2 Acklam RoadLondon W10 5QZT. 020 7460 5050www.pbc.co.ukA non-profit company providing an advice service for those startinga business or wishing to expandtheir existing business in the West London area.

North EastOne NorthEastStella HouseGoldcrest WayNewburn RiversideNewcastle upon Tyne NE15 8NYT. 0191 229 6200F. 0191 229 6201E. enquiries@onenortheast.co.ukwww.onenortheast.co.ukThe Regional DevelopmentAgency covering the North East of England, comprisingNorthumberland, Tyne & Wear,County Durham and Tees Valley.

WalesBusiness Eye in WalesUnit 5Ynysbridge CourtGwaelod-y-GarthCardiff CF15 9YDT. 08457 96 97 98E. assistance@businesseye.org.ukwww.businesseye.org.ukA free advice service providinginformation on a range of business issues from tax to sales and marketing.

WalesTrade InternationalThe National Assembly for WalesCathays ParkCardiff CF10 3NQT. 029 20 801 046F. 029 20 823 964E. exports@wales.gsi.gov.ukwww.walestrade.comAgency helping Welsh companies establish themselves in overseas markets, and forgebusiness alliances with counterparts worldwide.

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25. Information Resources

Business LinkT. 0845 600 9006www.businesslink.orgNational advice service for smallUK firms, providing straightforwardbusiness information and accessto a wide network of business support organisations. Good website with guidance on key topics including ‘Starting up’,‘Finance and Grants’, ‘Taxes,Returns and Payroll’, ‘EmployingPeople’ and ‘Sales and Marketing’,lists of regional offices and onlineGrants and Support directory. See website for local branches.

The City Business Library1 Brewers’ Hall GardenLondon EC2V 5BXT. 020 7332 1812F. 020 7332 1847One of the UK’s leading businessinformation sources, providingbook search, reference and photocopying facilities. Open 9.30-5.00 Monday-Friday to members of the public (no membership requirements).

Companies HouseCrown WayCardiff CF14 3UZT. 0870 333 3636F. 029 20 380 900E. enquiries@companies-house.gov.ukwww.companieshouse.gov.ukOfficial body responsible for theregistration of all companies inEngland and Wales. Searches can be made on company names and advice given on legalrequirements regarding registeringyour company, together with guidance, booklets and forms.

Department of Trade and Industry (DTI)1 Victoria StreetLondon SW1H 0ETT. 020 7215 5000 / 0105F. 020 7222 0612E. dti.enquiries@dti.gsi.gov.ukwww.dti.gov.ukGovernment body providing awealth of support for those settingup in business, including free publications on topics ranging from export to business start-up advice. Also runsDTI Publications Orderline(T. 0870 150 2500www.dti.gov.uk) which providesfree booklets offering support andstart-up information for small businesses, a useful source ofcontacts and information.

EnvirowiseT. 0800 585 794 (helpline)www.envirowise.gov.ukThis government-funded programme offers UK businessesfree, independent, confidentialadvice and support on practicalways to increase profits, minimisewaste and reduce environmentalimpact. Aims to make businessesmore competitive and profitable,and ensure that they always comply with environmental legislation.

Health and Safety ExecutiveHSE infolineCaerphilly Business ParkCaerphilly CF83 3GGT. 0845 345 0055F. 0845 408 9566E. hseinformationservices@natbrit.comwww.hse.gov.uk

Information regarding health and safety at work, legislation,employers’ responsibilities, etc.

H.M. Revenue & CustomsGeneral enquiriesT. 0845 010 900www.hmrc.gov.ukWill give you details of your local tax office and useful information about tax, customs and excise and self-assessment.Also publish a ‘Starting Up inBusiness’ guide which can bedownloaded from the website. The Self Employed Contact Centre (T. 08459 154 655) providesadvice on national insurance contributions etc.

Information Commissioner’s OfficeWycliffe HouseWater LaneWilmslowCheshire SK9 5AFT. 01625 545 700 (general)T. 01625 545 745 (publications)F. 01625 524 510E. mail@ico.gsi.gov.ukwww.informationcommissioner.gov.ukInformation on data protection andfreedom of information. Websitehas details of regional offices.

Intellectual Propertywww.intellectual-property.gov.ukGovernment-backed website providing information about allaspects of intellectual property.

The Learning and Skills CouncilCheylesmore HouseQuinton RoadCoventry CV1 2WTT. 0870 900 6800F. 024 7682 3675 E. info@lsc.gov.uk www.lsc.gov.uk

The Learning and Skills Council is responsible for funding andplanning education and training for over 16-year-olds in England.See website for local offices.

National Federation of EnterpriseAgencies (NFEA)12 Stephenson CourtFraser RoadPriory Business ParkBedford MK44 3WHT. 01234 831 623F. 01234 831 625E. enquiries@nfea.comwww.nfea.comA network of independent not-for-profit Local Enterprise Agencies and similar organisationscommitted to responding to theneeds of small and growing businesses by providing a range of appropriate quality services.

NESTA (National Endowment forScience, Technology and the Arts)Fishmongers’ Chambers110 Upper Thames StreetLondon EC4R 3TWT. 020 7645 9538E. nesta@nesta.org.ukwww.nesta.org.ukNESTA is a creative investor, bridging the public and privatesectors to pioneer ways of supporting and promoting UK talent and innovation. Runs fourfunding programmes (see Grantsand Funding section, below).

The Prince’s Trust18 Park Square EastLondon NW1 4LHT. 0800 842 842F. 020 7543 1200E. info@princes-trust.org.ukwww.princes-trust.org.uk

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successfully. The grant reimbursessome of the costs of consultantschosen to provide expert adviceon identified ‘barriers’ to the successful implementation of thebusiness’ innovative idea. The project outcome is an action plan. See earlier entry for contact details.

DTI Grant for Research andDevelopmentwww.dti.gov.uk/r-dInitiative that provides grants tohelp individuals and small andmedium-sized businesses to research and develop technologically innovative products and processes. See earlier entry for contact details.

Edward Marshall TrustWatford Old Farm17 Cranley RoadGuildfordSurrey GU1 2EWT. 01483 570 801E. info@edtrust.org.ukwww.edtrust.org.uk.Offers biennial awards which arenormally given towards the fundingof progressive design for functionalitems, particularly furnishings.

The Inches Carr Trust2 Greenhill ParkEdinburgh EH10 4DWT. 0131 447 4847Offers craft bursaries to Scottishmakers who having been workingin their particular field for at leastfive years.

Just for BusinessWater LaneWilmslowCheshire SK9 5BQE. enquiries@j4b.co.ukwww.j4b.co.uk

Allows quick and simple searchesof the constantly updated j4b database of business grants and loans.

NESTANESTA’s funding programmesinclude (a) Invention andInnovation, which takes originalideas with commercial or socialpotential and helps them get tomarket, (b) Fellowships, which support exceptionally talented andinnovative people, and enablethem to pursue a tailor-made programme of personal creativedevelopment, (c) Learningresearches and pioneers initiatives,which drive innovative educationand encourage public engagement with science, technology and the arts, and (d) the Creative PioneerProgramme aimed at recent artsgraduates who ‘have outstandingcreative talent and a particularlyoriginal business idea’ to get theirideas off the drawing board. 50 places are available and thoseaccepted may apply for a PioneerAward, worth up to £35,000. See earlier entry for contact details.

New Entrepreneur ScholarshipsT. 020 7456 0444E. niallj@londonaea.comwww.nesprogramme.org.ukA Learning and Skills Council funded scheme to help peoplewith a good idea for a business,who live in a deprived part ofLondon, set up in business. Thescheme offers a programme ofbusiness start-up training, personalbusiness tutoring, networkingevents and funding.

Pool of London Partnership3 Gainsford StreetLondon SE1 2NET. 020 7407 4701F. 020 7407 4702 E. marketing@pooloflondon.co.ukwww.pooloflondon.co.ukThe scheme offers grants ofbetween £500 and £2,000 toschools, small businesses andcommunity-based organisationsbetween London Bridge and Tower Bridge.

The Prince’s TrustAimed at young people betweenthe ages of 18 and 30. TheirDevelopment Award providesfunding of up £500 for education(including post-graduate coursesand training programmes). TheTrust also provides start-up sup-port including a low interest loan of£4,000, and a grant of £1,500 forthose in special circumstances.See earlier entry for contact details.

The Queen Elizabeth ScholarshipTrustThe SecretaryNo 1 Buckingham PlaceLondon SW1E 6HRwww.qest.org.ukOffers scholarships to improvecraft or trade skills to makers whocan demonstrate that they havealready developed a high level of skill.

Scottish Arts CouncilRuns a Start-up Scheme for newmakers to set up businesses inScotland, offering grants from£5,000 to £8,000 as well as funding for maintenance and equipment. More establishedScotland-based makers can applyfor a Creative Development grant. See earlier entry for contact details.

Shell LivewireHawthorn HouseForth BanksNewcastle upon Tyne NE1 3SGT. 0845 757 3252F. 0191 261 1910E. shell-livewire@pne.orgwww.shell-livewire.orgHelps 16-30 year olds start anddevelop their own business.Distributes Free Essential Business Kits and organises annual competitions and awards. It will put you in touch with aLivewire co-ordinator in your areawho can advise on all aspects of starting a business.

Wingate ScholarshipsThe Administrator20-22 Stukeley StreetLondon WC2B 5LRwww.wingate.org.uk/overview.htmOffers scholarships of up to£10,000 to finance one-off projectsof ‘intellectual, scientific, artistic,social or environmental value’ – this often includes craft projects.

The Winston Churchill Memorial Trust15 Queen’s Gate TerraceLondon SW7 5PRT. 020 7584 9315F. 020 7581 0410E. office@wcmt.org.ukwww.wcmt.org.ukGives out a small number of grantseach year to finance travel.

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25. Information Resources

ScotlandHighlands & Islands EnterpriseCowan HouseInverness Retail and Business ParkInverness IV2 7GFT. 01463 234 171F. 01463 244 469E. hie.general@hient.co.ukwww.hie.co.ukProvides business support services, delivery of training andlearning programmes, assistancefor community and cultural projectsand measures for environmentalrenewal across the Highlands and Islands regions.

Made in Scotland Ltd.Station RoadBeaulyInvernessshire IV4 7EHT. 01463 782 578F. 01463 782 409E. mis@enterprise.netwww.madeinscotland.uk.comPromotes and markets the indigenous industries of Scotlandand also organises Scotland’sInternational Trade Fair.

The Prince’s Scottish YouthBusiness Trust6th floor53 Bothwell StreetGlasgow G2 6TST. 0141 248 4999E. firststep@psybt.org.ukwww.psybt.org.ukAn organisation which helps young people setting up businesses in Scotland. It offerslow-interest loans of up to £5000and grants of up to £1000.

Scottish Enterprise5 Atlantic Quay150 BroomielawGlasgow G2 8LU

T. 0845 607 8787F. 0141 221 3217E. network.helpline@scotent.co.ukwww.scottish-enterprise.comScotland’s main economic development agency, providing a range of high-quality services to help new businesses get underway, support and developexisting businesses, help peoplegain knowledge and skills, andhelp Scottish businesses developa strong presence in the globaleconomy. See website for local partners.

Northern IrelandInvest Northern Ireland44-58 May StreetBelfast BT1 4NNT. 028 90 239 090F. 028 90 490 490E. info@investni.comwww.investni.comThe lead agency for local economic development inNorthern Ireland. It aids businesses that employ fewer than 50 people in the manufacturing and tradable services sectors.

Trade International Northern IrelandIDB House64 Chichester StreetBelfast BT1 4JXT. 028 90 233 233F. 028 90 545 000E. trade@idb.detini.gov.ukHelps companies in NorthernIreland achieve success in globalmarkets by offering a range ofservices including advice, information and grants.

Grants andFunding100% Designwww.100percentdesign.co.ukOffers bursaries to UK-baseddesigner-makers (excludingNorthern Ireland) producing furniture, lighting, textiles or accessories for the contemporaryinterior, who have not previouslyexhibited at the 100% Designtrade fair. Bursary winners receivea 50% discount against the cost of stand space at 100% Design.Online application.

Arts Council EnglandGrants for the arts funded by theNational Lottery. Application packsdownloadable from the website.Also offers one-off grants of anything up to £30,000 and smaller grants to cover costs such as those incurred by travel,research, professional development and the purchase of new equipment – as long as the project has a potential benefitto the public in either the short or long term. See earlier entry for contact details.

Clerkenwell Green AssociationRuns the Clerkenwell Awardscheme which helps newly trainedcraftspeople set up business; onlyapplicable for residents ofCamden, Hackney, Islington and Tower Hamlets. See earlier entry for contact details.

Crafts CouncilThe Crafts Council administersseveral awards. The DevelopmentAward is a one-year scheme formakers at the start of a career incrafts and offers a maintenance

grant of £2,500, equipment grants and a residential course in business training. The NextMove Scheme is an innovative,setting-up scheme designed to putrecent graduate designer-makerson the fast track, providing studiospace, equipment, grants, trainingand promotion opportunities in the supportive environment of a host college. See earlier entry for contact details.

Creative Advantage FundT. 0121 631 3121E. interest@acfwm.co.ukwww.creative-advantage-fund.co.ukA venture capital fund for creativebusinesses in the West Midlands.

Creativexportwww.creativexport.co.ukConstantly updated information on government grants and loans,and other schemes available allover the UK.

The David Canter Memorial FundGrants awarded every two years,focusing on a different craft discipline each time. Funding will next be available in 2006 for makers working in textiles. Offers grants up to £1000 towardsresearch, special projects, equipment, etc. Contact JennyPlackett, c/o The Devon Guild of Craftsmen. See earlier entry for contact details.

DTI Grant for Investigating anInnovative Ideawww.dti.gov.uk/innovative-ideaAwarded to businesses that havean idea to develop an innovativeproduct, process or service, butare not sure whether they areready to take it forward

Further ReadingReference books are

available for consultation in the Crafts Council

Resource Centrewww.craftscouncil.org.uk/ref.You can try your local centralreference library or university

library or visit your localbookshop for more books

on starting a business.

Art and Design Reference BooksArt, Design and Craft: a Manual for Business SuccessJohn Crowe and James Stokes, Edward Arnold, 1988

Artist’s Guide to Selling WorkAnnabelle Ruston, A&C Black, 2005

The Arts Funding GuideSusan Forrester and David Lloyd, Directory of SocialChange, 2002

Arts Review YearbookArts Review

A-Z of Business Information SourcesCroners, 1993

Craft Galleries GuideCarole Morenment, BCF Books, 2004/05

Design Handbook 2001Maxine Horn and Christine Losecaat, British DesignInitiative, 2001

The Directory of Grant Making Trusts 2005-0619th Edition, Directory of Social Change

The Grants Register 2006Palgrave Macmillan

Guide to Arts Funding in EnglandDepartment for Culture, Media and Sport, Arts Division, 2003

New Sources of Grants and Aid for Businesses in the UKWEKA Publishing

Prizes and AwardsDewi Lewis Publishers, 2005

The Regional Arts Funding Handbook Vol 2Angus Broadbent (Editor), Boundtech Ltd

Running a Workshop: Basic Business for Crafts People3rd Edition, Barclay Price (Editor), Crafts Council, 1997

SellingJudith Staines, AN Publications, 1993

Sources of Grants and Aid for Businesses Vol 1 and 2Edited by Anthony Harrison, GEE

Business TitlesAccounting for Non Accountants5th Edition, Graham Mott, Kogan Page, 1999

Branding YourselfMary Spillane, Pan Books, 2000

The Business Enterprise HandbookColin Barrow, Robert Brown and Liz Clarke, Kogan Page, 2003

The Complete Idiot’s Guide to Managing Your TimeJeff Davidson, Pearson, 2000

Negotiating SkillsTim Hindle, Dorling Kindersley, 1998

Law for the Small Business11th Edition, Patricia Clayton, Kogan Page, 2004

Setting Up and Running Your Own Company2nd Edition, Michael Major, Easyway Guides, 2002

Small Business Tax GuideJohn Whiteley, How to Books, 2003

Small Business Entrepreneurship and Enterprise DevelopmentGraham Beaver, FT Prentice Hall, 2002

Sources of Finance for SMEs in LondonCompany Guides, 2004

Starting a Successful Business Michael Morris, Kogan Page, 2001

Starting Your Own BusinessJim Green, How to Books, 2005

Successful Marketing for the Small Businesses Dave Patten, Kogan Page, 2001

Teach Yourself Setting up a Small BusinessVera Hughes and David Weller, Hodder and StoughtonEducational, 2003

Understanding Business Accounting for DummiesUK Edition, Colin Barrow and John A. Tracy, John Wiley& Sons Ltd, 2004

The Which? Guide to Starting Your Own Business5th Edition, Anthony Bailey, Which? Books, 2003

Working for YourselfGodfrey Golzen and Jonathan Reuvid, Kogan Page, 2004

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26. Further Reading