Art licensing submissions should include a small selection of relevant artwork, a professional portfolio link or PDF, a brief introduction, and clear contact information. Before submitting art to companies, check their guidelines carefully. Some request individual images, others want complete collections, and some only review artwork submitted through a specific form or email address.
If you have artwork that could work on greeting cards, fabric, stationery, puzzles, home decor, or other products, the submission is your opportunity to show a company what you create and why it may fit their business.
I approach art licensing submissions differently from presenting work to galleries or potential illustration clients. The company needs to understand the artwork’s commercial possibilities quickly. I want the presentation to feel professional and organized without sending more material than someone has asked to review.
What to Include in an Art Licensing Submission
Unless a company gives different instructions, I would prepare the following before reaching out:
- Selected artwork: A small group of finished pieces appropriate for the company’s products and customers.
- Portfolio link or PDF: An organized presentation showing the artwork clearly, using the format requested by the company.
- Short introduction: A few sentences identifying the artist, the type of work, and the reason for contacting the company.
- Collection information: Titles or identifying numbers for individual designs and collections when relevant.
- Contact information: Your name, professional email address, website, and any other contact details the company requires.
- Artwork availability: Accurate information about whether the designs are available for the product category being considered.
This is a starting checklist rather than a universal industry requirement. A manufacturer requesting five illustrations may have no interest in a lengthy PDF of pattern collections. Another company may specifically require collection sheets, mockups, or a professional biography.
The most important rule is to follow the company’s published submission instructions instead of sending the same package everywhere.
Before Submitting Artwork, Check the Company’s Guidelines
I would begin by finding the official artist submission, licensing, or portfolio review page on the company’s website.
Look for information about the artwork they consider, whether submissions are currently open, the required file format, image count, contact method, and any restrictions on unsolicited materials.
For example, some companies accept independent submissions directly from artists. Others work primarily through licensing agents or invite portfolios only when looking for a particular kind of artwork.
If a company says it is not accepting unsolicited artwork, I would respect that policy rather than searching for an employee’s personal email address to bypass it.
For potential companies, start with my art licensing companies accepting submissions guide. It focuses on finding relevant opportunities, while this article explains how I would prepare the materials once I know where to submit.
How to Prepare Artwork Files for Licensing Submissions
The presentation format should make the artwork easy to inspect without forcing the reviewer to download unnecessarily large files or search through an unrelated portfolio.
Choose the right artwork for the company
Before exporting anything, I would look at the company’s current products and decide which of my existing images genuinely belong in that category.
A fabric manufacturer may want patterns, collections, illustrations, or designs that could translate into sewing and quilting products. A greeting card publisher may be interested in subjects, occasions, or messages that work as individual cards.
If I had a portfolio of wildlife drawings, I might select animals with different compositions or expressions for a stationery submission. For a fabric company, I might show botanical details, complementary animal illustrations, or artwork that could be adapted into repeating motifs.
I would not automatically submit unfinished sketches, unrelated paintings, or a complete archive just to demonstrate range. The selection needs to make sense for the company’s products.
Organize a PDF submission when requested
For companies that accept PDFs, I would build a document that is easy to scan. The opening page should establish the artwork’s visual direction, followed by selected designs presented at a readable size.
A useful PDF might contain a cover page, several artwork pages, collection details, and a final contact page. If the company asks for a particular page size, file size, naming format, or number of images, those instructions take priority.
I would label designs clearly and keep related pieces together. A buyer should be able to refer to a title or design number when asking about a specific image.
If you are still developing the presentation itself, my art licensing portfolio guide covers collection organization, image selection, mockups, and presenting artwork for commercial products.
Use a portfolio link when attachments are discouraged
Some companies prefer a website or portfolio link rather than attached files. In that case, I would send a direct link to a curated group of artwork, not a general homepage where the reviewer has to search for the licensing work.
The page should load without requiring an account, show the artwork clearly, and provide an obvious way to contact the artist.
I would also check the link in a private browser window before submitting. A password-protected portfolio, broken image gallery, or restricted file-sharing link can make an otherwise strong submission difficult to review.
Art Licensing Submission Example: A Small Portfolio Package
To make the process more concrete, imagine that I am submitting a collection of wildlife illustrations to a manufacturer that permits a PDF with selected artwork.
I might assemble the sample submission as follows:
| Page | What I would show |
|---|---|
| 1 | Collection title, one strong wildlife illustration, artist name, and contact information |
| 2 | Three related animal illustrations showing the main visual style |
| 3 | Additional artwork or complementary botanical motifs that could extend the collection |
| 4 | A selection of alternate arrangements or colorways, if relevant to the product category |
| 5 | Artwork titles or identification numbers, portfolio website, and contact details |
This is an illustrative package, not a format required by all licensing companies. I would change the number of pages and images to match the recipient’s instructions.
For a card publisher, I might replace collection pages with individual greeting card designs. For a fabric manufacturer, I might organize several coordinating patterns with a clear sense of scale. For a wall art publisher, strong standalone images may be more important than supporting motifs.
The point is to show the work in the format most useful to the person reviewing it.
Real Art Licensing Submission Requirements: Robert Kaufman Fabrics
One useful example of how specific submission requirements can be comes from Robert Kaufman Fabrics’ official licensed artwork submission guidelines.
The company says it is interested in artists with portfolios containing at least 15 images, but asks applicants to submit 5–10 representative examples. It also considers artwork that has not yet been converted into a textile repeat.
For digital submissions, Robert Kaufman specifies:
- PDF format for presentation
- Pages printable at 8.5 × 11 or 11 × 17 inches
- Files preferably under 5 MB and no larger than 10 MB
- Contact information included on the pages
- Clearly labeled designs and collections
- A collection overview page when presenting coordinated artwork
The company says it may request high-resolution, preferably layered files after the initial review. That is an important distinction: the first submission is for evaluation, not necessarily for transferring production artwork.
Robert Kaufman also states that it tries to respond within 30 days and permits an email follow-up afterward. That is its published policy, not a general follow-up timetable for all companies.
I would use a real submission page like this to understand the level of organization manufacturers may expect, while still checking the exact requirements of every company I approach.
Art Licensing Submission Email Example
If a company accepts submissions by email, I would keep the message short enough that someone can understand the artwork and open the portfolio without searching through several paragraphs.
For example:
Subject: Artwork Submission for Licensing Consideration
Hello [Name],
I’m an artist creating [brief description of your artwork]. I’m reaching out because I think my [collection or artwork description] could be a good fit for your [product category or collection].
I’ve included a link to selected work for your consideration:
[Portfolio link]
The artwork is available for licensing in the relevant product category. I’d be happy to provide additional information if anything looks like a fit.
Thank you for your consideration,
[Your name]
I would adjust the message for the recipient and never use this as a substitute for a required application form. The email’s job is to introduce the submission and make the artwork accessible.
For a more detailed discussion of researching companies, writing personalized pitches, and developing an outreach approach, see my separate guide on how to pitch art licensing.
Should You Send High-Resolution Artwork in a First Submission?
Generally, I would not send full-resolution production files during an initial inquiry unless a company’s established submission process specifically requires them.
A licensing reviewer usually needs images that clearly communicate the design, composition, and possible product applications. The original layered files or high-resolution production artwork may become relevant after the company expresses interest.
For an initial presentation, I would check that the preview images are sharp enough to evaluate while keeping file sizes practical. A watermark may be appropriate in some situations, but it should not obscure the work.
I would keep original files organized privately with consistent artwork names and version numbers. That makes it easier to provide the correct production files later without accidentally delivering an outdated or incomplete design.
Keep Track of Art Licensing Submissions and Responses
Once I begin approaching several companies, I would record each submission instead of relying on memory or searching through old emails.
A simple spreadsheet could contain:
| Field | What to record |
|---|---|
| Company | Manufacturer, publisher, or agency name |
| Submission page | Official guidelines or application link |
| Date submitted | When the application or email was sent |
| Artwork sent | Collection names, design numbers, or PDF version |
| Contact method | Email, website form, or requested application platform |
| Follow-up policy | The company’s stated instructions or response window |
| Status | Submitted, under review, interested, declined, or no response |
This gives me a record of which artwork each company has seen and helps prevent sending the same submission repeatedly.
It also becomes useful if a company expresses interest in a design that has been submitted elsewhere. Submitting artwork to multiple potential licensees does not automatically make it unavailable, but I would track any offers, holds, or agreements that could affect future licensing.
When Should You Follow Up on an Art Licensing Submission?
I would first check whether the company mentions a response window or follow-up policy.
Some companies provide an estimated review period. Others explain that they only contact artists when there is interest. A few ask artists not to follow up at all.
If follow-ups are permitted and there is no stated timeframe, a single polite follow-up after several weeks may be reasonable. I would not repeatedly contact the same buyer when there has been no response.
When writing the follow-up, I would reference the original submission date, the artwork or collection, and the portfolio link. The message should be brief and easy to answer.
If there is still no response, I would move on to other suitable companies. A lack of response does not establish whether the artwork is good or bad. It may simply mean the company does not have a current need for that style or category.
Artwork Ownership and Licensing Rights Before Submission
Before submitting artwork, I would make sure I understand which designs I own and whether any existing agreements limit their availability.
For example, if an illustration has already been licensed exclusively for a particular product category, I would not offer the same rights to another manufacturer without reviewing the original agreement.
Submitting a portfolio is not normally the same as signing a licensing contract, but artists should read the terms of any submission form, upload platform, or release they are asked to accept.
The U.S. Copyright Office’s guide for visual artists explains that copyright protection generally begins when original artwork is created and fixed in a tangible medium. Registration can provide additional legal benefits.
When a company wants to proceed with commercial use, the proposed agreement should clarify the artwork covered, permitted products, territory, duration, exclusivity, payment, and other relevant rights.
My art licensing agreement guide discusses those terms in more detail. The initial submission should open a conversation, not leave the artist uncertain about how the artwork may be used.
What Happens After a Company Accepts Your Artwork for Review?
There is an important difference between a company agreeing to review artwork and a company agreeing to license it.
A positive response to a submission may simply mean the company wants to see additional designs, review a complete collection, or learn more about the artwork’s availability.
It may ask for higher-resolution files, alternate compositions, additional artwork, or information about previous licenses. I would clarify why the materials are needed and how they will be handled before sending production files or agreeing to substantial new work.
If the company makes a licensing offer, I would move from presentation questions to the terms of the proposed agreement. Compensation, permitted uses, exclusivity, and rights should be clear before authorizing commercial use.
An invitation to submit or a favorable portfolio review is encouraging, but neither guarantees a licensing deal.
Common Questions About Art Licensing Submissions
How many images should I send for art licensing?
Send the number requested by the company. If no number is specified, a small selection of relevant finished artwork is usually easier to review than a large, unrelated portfolio. Some manufacturers, including Robert Kaufman Fabrics, publish specific image-count requirements.
Can artists submit work directly to licensing companies?
Yes. Some companies accept artwork directly from independent artists through submission forms, email, or online portfolio links. Others work through agents or have restricted submission processes. Research the company’s current policy before contacting it.
Do I need a complete collection before submitting artwork?
Not always. Some companies consider individual illustrations or paintings, while others prefer coordinated collections. The artwork required depends on the manufacturer, product category, and its published guidelines.
Should I include prices in my art licensing submission?
Unless a company specifically requests pricing, I would usually wait until the proposed use is clear. Licensing compensation depends on factors such as product category, territory, duration, exclusivity, and the payment structure. A flat fee and a royalty agreement are not directly comparable without those details.
Where can I find companies accepting art submissions?
My art licensing companies guide covers general licensing opportunities. For specific product categories, I also maintain guides to fabric companies accepting art submissions and greeting card companies accepting art submissions.
My Final Submission Checklist
Before sending an art licensing submission, I would make one final check that the artwork matches the company’s products, the requested file format is correct, the portfolio is accessible, the contact details are accurate, and the designs are available for the rights being discussed.
I would then save a copy of the submitted materials and record when and where I sent them. That gives me a clear reference if the company responds or requests more artwork later.
A good art licensing submission does not have to contain everything an artist has made. It needs to present the right work, in the right format, to a company that has a reason to consider it.