Editor’s Note: Guild News recently asked publisher and founder of Allworth Press, Tad Crawford, to reflect on Allworth’s 20 years of success as a small publisher specializing in books for creative professionals. Tad is also an author, attorney, artists’ rights activist, and a former corporate counsel for the Graphic Artists Guild.

GN – This March, Allworth Press celebrated its 20th anniversary as a successful publisher of practical information for creative professionals. Prior to starting Allworth in 1989, you were a practicing attorney, a teacher at the School of Visual Arts, an artists’ rights activist, and the author of at least four books for artists. What compelled you to write your first book, Legal Guide for the Visual Artist?

TC – I always had an interest in writing, both nonfiction and fiction. In 1973 I was invited to teach writing at the School of Visual Arts in New York City. After meeting many students and faculty and listening to the practical issues that they faced, I realized that a course on business would be very helpful for artists. SVA encouraged this and in 1975 I started teaching Law and the Visual Artist. I quickly discovered, however, that no book existed that could serve as the text for the course. That, and my pre-existing interest in writing, led me to undertake Legal Guide for the Visual Artist.

GN – Your first book was followed by The Writer’s Legal Guide, Selling Your Photography, and Selling Your Graphic Design and Illustration. How did these books come about—did you see needs in the creative professions that weren’t being met, or did artists’ groups come to you, based on the success of your first book?

TC – The inspiration for these projects came from my belief that this information was not readily available to the respective professional audiences. The Writer’s Legal Guide came from the desire to help people interested in writing as I was. I was fortunate to have Arie Kopelman as co-author for Selling Your Photography and Selling Your Graphic Design and Illustration, since he had served as Executive Director of the American Society of Media Photographers and had extensive knowledge of the industry.

GN – One of the artists’ groups you have a long relationship with is the Graphic Artists Guild. How did you first become involved with the Guild, and what roles have you played in its history?

TC – In 1977, I was concerned about a provision in the copyright law (effective January 1, 1978) that would allow public broadcasting stations to use visual art works under a compulsory license and pay rates fixed by a Copyright Royalty Tribunal to any copyright owners of those works that could be located. I called a meeting of the leaders of all the various visual arts groups. Jerry McConnell attended for the Graphic Artists Guild and was very supportive of my efforts. This led to my doing various kinds of legal work for the Guild, and I eventually became General Counsel. A lot of my efforts were devoted to fighting against the work-for-hire provisions in the copyright law. This included documenting the use of work-for-hire contracts for use in persuading lawmakers (I testified at U. S. Senate hearings in 1982) and educating the membership about the danger posed by these contracts. I benefited greatly from the efforts of Susan Dooha, who as Executive Director of the Guild at that time helped to form a large coalition (the Coalition of Visual Artists Organizations) to lend greater weight to our efforts on behalf of artists. I also testified for the Guild at Senate hearings on Senator Kennedy’s moral rights bill which later was enacted into law. In 1992 I had the honor of receiving the Guild’s Walter Hortens Award for Distinguished Service. More recently, I helped in the process by which the Guild disaffiliated from the United Auto Workers.

GN – You were already a successful attorney and author when you decided to start your own publishing company. What made you take that risk?

TC – It was a continuation of my teaching experience. Professionals needed certain information that was not readily available. Also, my interest in writing made me enthusiastic about the idea of publishing. The enthusiasm made me willing to take the risk.

GN – What were some of Allworth’s first titles? Are any of them still in print today?

TC – The third edition of Legal Guide for the Visual Artist was our first title and that is still in print in its fourth edition. Among our first dozen titles still in print in revised editions are four books in the Business and Legal Forms series (for photographers, illustrators, author and self-publishers, and fine artists), Licensing Art and Design, The Artist’s Complete Health and Safety Guide, and How to Shoot Stock Photos that Sell (now Digital Stock Photography).

GN – Allworth earned recognition in the publishing industry within its first five years in business by receiving Quality Book’s 1994 Small Press Publisher of the Year Award. What criteria was the award based on?

TC – Quality Books indicated that recipients of the award “exemplify the standards of quality in independent publishing. To be considered for the award, a publisher must have distinguished itself by producing timely, topical, and saleable titles suitable for libraries, demonstrating networking skills, and supporting their distributor's efforts.”

GN – Despite a recessionary economy, competition from electronic media, and publishing-related jobs being outsourced overseas, Allworth Press has continued to grow, with more than 300 titles in print and a staff of six. What do you think accounts for your ongoing success?

TC – The mission of the press is to serve creative professionals. That has helped to focus our publishing efforts in a way that has been crucial to our success. We have also taken great care to manage the business parameters of our publishing operation.

GN – Some of your titles have been co-published with a select group of publishing partners from the creative community. Do you think these cooperative ventures have also contributed to Allworth’s success?

TC – Co-publishing with the School of Visual Arts, the American Institute of Graphic Arts, The American Society of Media Photographers, The Design Management Institute, the Authors Guild, and of course the Graphic Artists Guild has been a way for us to give added credibility to our books and authors which has certainly helped us to succeed.

GN – Recently you created a new partnership with Random House Publisher Services. What does this mean for the future of Allworth?

TC – Random House Publishing Services is one of the premier distributors in the world. They should extend our outreach in the marketplace, not only in bookstores but also in specialty outlets where creative professionals might shop.

GN – As a publisher of many books for graphic artists, do you think graphic arts professionals of today are more informed about their rights and more business savvy than artists were 20 years ago?

TC – I believe that professionals today have more of an awareness than was the case twenty years ago. The work of organizations like the Guild has contributed to this increased awareness, not to mention books of the type that Allworth Press publishes. Of course, the college art programs are constantly sending new artists into the commercial art world. It would be ideal if those programs could undertake the task of educating students with respect to professional practices.

GN – What do you see as the biggest challenges facing graphic artists today?

TC – The greatest challenge appears to be keeping up with the way technology has brought changes to the marketplace. In some cases, this may require that artists work as entrepreneurs. Steve Heller and Marshall Arisman address this in their new book, Marketing Illustration.

GN – One of Allworth’s newest titles is Green Graphic Design by Brian Dougherty. Are environmental and sustainability issues things that designers need to be concerned with? And, do you think that designers who have committed to designing “green” will possess a more competitive edge in the marketplace in the future?

TC – Brian has been at the forefront of green design issues. I believe that green will play more and more of a role, so designers knowledgeable in this area will have a competitive advantage as well as make a contribution to society.

GN – As you look back on your own early career as a lawyer, did you ever imagine you’d end up being a publisher instead?

TC – To be honest, it’s not that surprising. While it may not have been practical, I would have preferred writing to practicing law. With that personal disposition, publishing was a natural venue to blend the editorial skills honed by writing with the business skills developed from the practice of law.

GN – What are your future goals for Allworth Press? Does the original need for a publisher of practical information for creative professionals still exist?

TC – I believe the need does still exist. I would like to maintain Allworth Press at its current size and continue to fulfill our mission of helping creative professionals.

GN – We at the Graphic Artists Guild wish you many more years of success fulfilling your mission. The books you publish provide graphic artists with a wealth of ideas and solutions—practical knowledge they need to be successful in their careers.

Guild members receive a 20% discount off Allworth titles by ordering online at www.allworth.com.

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