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    Please use this identifier to cite or link to this item: https://nccur.lib.nccu.edu.tw/handle/140.119/34357


    Title: 藝術授權產業之營銷策略研究
    Authors: 盧恩慈
    Lu,Jacqueline
    Contributors: 劉江彬
    Lui, Paul
    盧恩慈
    Lu,Jacqueline
    Keywords: 藝術授權
    授權產業
    著作權
    策略
    行銷
    art licensing
    licensing
    copyright
    strategy
    marketing
    Date: 2005
    Issue Date: 2009-09-18 09:34:02 (UTC+8)
    Abstract: 摘　　　　要

    論文題目： 藝術授權產業之營銷策略研究
    校系所別： 國立政治大學科技管理研究所
    指導老師： 劉江彬教授（國立政治大學科技管理研究所教授、政大智慧財產研究所所長）
    研究生： 盧恩慈
    關鍵詞： 藝術授權、授權產業、著作權、策略、行銷

    摘要內容：
    　　二十一世紀先進國家的人民，在累積足夠財富後，生活水準也隨之升高，對於『美』的需求與日俱增，追求『美』不僅是表面虛榮，更為內在的滿足。
    　　反映在商場上，買者對各式商品美感層次之要求標準大為提昇，加上智慧財產權保護觀念日趨成熟、國際智財法律亦漸完備，以及國際商業授權活動的蓬勃發展，均為藝術授權產業創造有利的環境。
    根據本研究資料顯示，近年來西方國家藝術授權產業產值持續成長，幅度超過其他各類授權，此趨勢值得關注。藝術授權在西方行之有年，尤其是美國的藝術授權產業，已有二十多年發展歷史，許多案例創造單一企業年營業額上億美元之規模，也發展出一些成功的經營策略與模式。據此，本研究蒐集美國藝術授權最佳授權業者經營資料，探討其營運與行銷模式，分析其成功關鍵因素，並訪談國內藝術授權業者之經營狀況，提出此產業之營銷策略建議。
    　　根據研究問題，本研究之主要發現如下（節錄）：
    一、藝術授權產業最直接的定義為：「從事開發、複製、經營、行銷藝術品之著作權（版權）的產業。」其最基本價值活動為著作權之交易。藝術授權產業的本質是藝術作品之智慧財產及其週邊相關服務的經營；它是『授權產業（包括品牌授權、運動授權等）』的類別之一，且與西方所謂『版權產業（泛指所有從事與智慧財產權利移轉、授與活動之事業）』範疇部份重疊。同時，藝術授權市場亦與藝術產業及數位內容產業重疊（參圖6-1.1）。
    二、根據本論文第四章Thomas Kinkade Company個案之分析，其重要的營銷策略思考表現在『創意、品牌、生產、通路』四個層面上。
    三、根據本研究結果，美國藝術授權產業之成功的關鍵環境因素與營銷策略包括下列數項：
    1. 總體文化環境與經濟條件的支持，包括國家立法完善與執法嚴謹、人民生活水準與藝術鑑賞的配合、以及完整的產業上、下游價值鏈；
    2. 創意端與目標市場文化背景相合；
    3. 授權商品必須保有藝術的本質與價值；即加強複製藝術的品質，千萬不可以粗糙的、廉價的材料複製高價藝術。精緻的商品，才是藝術授權的活路；
    4. 清楚一致的品牌定位與層次分明的通路策略。
    四、在藝術品與藝術授權商品的關係上，除了利用高價知名藝術品牌提昇授權商品價值，對藝術複製品與衍生商品的品質與產量嚴格控制，加上積極的行銷活動運作，亦可塑造出一個高價值的藝術品牌，回頭帶動藝術品與藝術家的價值與知名度。
    五、台灣藝術授權產業價值鏈尚未成形，整體授權產業概念與運作方式也不被企業所熟悉，必須加強對國外成功案例與產業環境的觀察與學習。目前台灣已有部分藝術授權代理商進軍國際，數位內容業者對藝術授權範疇也躍躍欲試，也開始與西方重要藝術授權代理商、或國際品牌合作開發授權商品。現階段在國際授權、禮品或相關商展中，雖尚能代表華人地區在扮演東方藝術授權供應方，但日本、香港、韓國、中國的急起直追，勢必擠壓台灣在國際藝術授權市場上的空間，日、韓廠商挾以過去在品牌與卡通授權的成功模式，是不可輕忽的潛在競爭者。台灣未來必須在行銷活動與複製藝術品質方面更上層樓，才能在此產業取得優勢。
    六、目前台灣藝術授權產業最大的問題該是對建構品牌與行銷活動的生疏，以及對市場的茫然。這個弱點讓企業在經營上成為無頭蒼蠅，一味向更多國際廠商爭取合作，但最後仍淪為大廠品牌之下的美麗圖騰之一，或有如藝術圖庫般的價值，業者必須戒慎小心。本研究並歸納一些營銷建議在第六章第六項研究問題探討中。
    　　根據研究結論，西方藝術授權產業目前與國內做法最大的不同在於『品質』與『品牌』；國外成功的授權商多半擁有強大的藝術品牌，強大的藝術品牌來自高品質的複製藝術商品，不論是否透過授權，不論商品種類，最重要的是要具備藝術該有的質感，才能建立令人心生喜悅並認同的藝術品牌。
    目前對於新進業者尚無絕對有效的營運模式策略建議，但本研究認為至少必須抓到藝術之所以被認可為藝術的關鍵，要有原創性、商品品質要能與藝術本身匹配、要了解目標市場文化，並積極投資品牌行銷工作。
    而歸納本研究最重要結論為，藝術授權產業的營銷策略即「以創造藝術的態度『複製』藝術。」以藝術之名為商，仍要忠於藝術本質才能成功。
    Abstract

    Title: The Business and Marketing Strategies of the Art Licensing Industry
    School: Graduate Institute of Technology and Innovation Management, National Chengchi University
    Advisor: Paul Lui
    Author: Jacqueline Lu
    Key Words: Art Licensing, Licensing, Copyright, Strategy, Marketing
    　　
    　　In the 21st century, people of the developed countries accumulated a significant fortune and started to think about raising their quality of life. Their requirement of “beauty” in various kinds of markets went up rapidly. Purchasing “beauty” is not only for the shallow vanity, but also for the real inner satisfaction.
    　　In the business world, purchasers tend to ask for increasingly pleasant looking and higher quality products of all kinds. In this environment, the idea of intellectual property rights protection is taking shape, the related laws are evolving, and the international licensing activities are flourishing. All of the above create a gainful environment for the art licensing industry.
    According to this research, the sales of the art licensing industry in the western countries have been continuously growing, and developing faster than other licensing businesses such as cartoon character licensing.
    　　Western countries have done this business of art licensing for years, especially the United States with over 20 years history. There are numerous businesses with successful business models and strategies with revenue exceeding $100 million. This paper focuses on the most successful art licensor, Thomas Kinkade Company, and presents information collected about its business strategies and marketing approaches, and analyzes its key success factors. In addition, this research presents the stories of Taiwan’s main art licensing company, artkey Co., and one domestic artist, Mr.Shi, as an independent licensor to sum up some business strategies of this industry.
    　　The important findings of this research are as follows (extraction):
    1. The simplest definition of “art licensing industry” is “the industry working on developing, copying, managing, and marketing the copyright of art works.”
    　　The nature of art licensing is the business related to the intellectual property rights of fine art and the peripheral services. It is one of the main categories in the licensing industry, which belongs to the cultural creative industry. In addition, the art licensing industry also partially overlaps the copyright industry, the art industry and the digital content industry. (see chart 6-1.1)
    2. Base on the analysis of Thomas Kinkade Company in Chapter 4, the most critical business and marketing strategy is shown in 4 different aspects,” creativity, brand, production, and channel.”
    3. According to this study, the key success factors and the preferred business and marketing strategies of the art licensing business in the United States include:
    (1) The support from the overall culture status and the economic condition such as the more consummate laws and regulations with stricter law enforcement; the higher life standard and the better appreciation of art; the more complete industrial value chain availability.
    (2) The cultural background of the creative departments and the target markets are compatible.
    (3) The art licensing products must keep the nature and the sense of value of original art works. In other words, the companies should enhance the quality of the duplication of art; they should not copy a real art with rough, cheap and low quality material. Only “fine products” can represent “fine art” and make big sales.
    (4) Art licensing also needs a constant and clear brand position with distinct strategy of the channel layers.
    　　4. By observing the relationship between art works and art licensing products, companies can take advantages of the expensive famous artists or art works upgrade the value of the licensing products. Severely controlling the quality and productivity of the art duplications or licensed goods plus founding an active marketing program can also establish a high value art brand that benefits the original art works or artists.
    5. In Taiwan, the complete upstream and downstream value chain of art licensing business is still forming. The whole idea of licensing industry is not clear for most of the domestic firms. Taiwanese entrepreneurs have to observe the international licensing world more and learn about the successful strategies people use in this industry overseas.
    　　Currently, there are some art licensing agents in Taiwan starting to conduct their business abroad. They are making contact with some crucial art licensing agents or globally well-known brand to open up new art licensing product lines. More and more digital content suppliers are also interested in this pie.
    　　So far Taiwanese companies can still play the main role of being the art licensing suppliers of oriental art in most of the international licensing shows and gift trade shows. But in no time, Japan, Hong Kong, Korea, and China will catch up and squeeze the international market share from Taiwan. Especially with their successful brand and character licensing experience, the Japanese and Korean companies are certainly Taiwan’s greatest competitors. To keep their superiority in the future, Taiwanese art licensors must upgrade their marketing strength and the quality control.
    6. Presently, Taiwanese licensors’ biggest problems are not having the expertise to build a brand and being unfamiliar to the market. Fighting for more opportunities to work with super brands makes their art become nothing but a pretty pattern of other brands. This study generalizes some art licensing business and marketing advice in chapter 6 question number 6.
    　　As to the conclusion of this study, the most obvious difference between Taiwanese art licensors and western companies is how they manage the quality and their brands. In developed countries, art licensors usually own very powerful art brands. Powerful art brands are mostly created from perfect quality of copying products or art duplications. No matter licensing the art or not, this business should provide the quality of products as good as fine art. Only this can create a real art brand people would like to enjoy.
    　　Although this paper does not present an absolute business model, this research does offer some basic success factors for art licensors. “Art” and “beauty” are the keys to this industry. Some things all the art licensors should know and practice are to be original, develop compatible products, learn the culture of the market and invest the money in marketing.
    　　To sum up, the most important conclusion of this study for the business and marketing strategies in the art licensing industry is to “copy” the art with the attitude of “creating” the art. Stick to the nature of art, and your art licensing products could possibly win the battle.
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    11. Harvard Business Review Paperback Series, “Harvard business review on managing the value chain”, Boston, Mass.: Harvard Business School Press, 2000
    12. Hill, W.L. & Jones, G.R., Strategic Management an Integated Approach”, 4th, Boston, Houghton Mifflin Co., 1998
    13. Hofer, C.W. & Dan Schendel, “Strategy Formulation: Analytical Concepts”, Minnesota: West Publishing Co., 1978
    14. Hoving, Thomas,　”Art For Dummies”, IDG Books Worldwide, Inc.,1999
    15. Keller, Kevin, “Strategic Brand Management”, Upper Saddle River: Prentice-Hall, 1998
    16. Thomas Kinkade, “The Thomas Kinkade Story: A 20-Year Chronology of the Artist”, Bulfinch, 2004
    17. Leidecker, J. & Bruno, A.V., “Identifying and Using Critical Success Factor”, Long Range Planning 17(1), p.23-32, 1984
    18. Naisbitt, John, ”Megatrends 2000: Ten New Directions For the 1990`s”, New York:Avon Books, 1990
    19. Owens, Thomas, “A Contractual Approach to Partnering”, Small Business Reports, 1991
    20. Petersen, Andrea, “Art for when there`s nothing on TV”, Wall Street Journal, Feb.17, 2005.
    21. Raugust, Karen, “The Licensing Business Handbook” New York: EPM Communications, 1995
    22. Raugust, Karen, “Merchandise Licensing in the Television Industry”, Newton: Butteworth -Heinemann, 1996
    23. Revoyr, Jack , “A Primer on Licensing” Stamford: Kent Press,1995
    24. Richard, Normann, “Designing interactive strategy : from value chain to value constellation”, Chichester, England ; New York : Wiley, 1994
    25. Taine, H.A., translated by H. Van Laun,1873, “History of English Literature”, Edinburgh: Edmonston and Douglas
    26. Throsby, David, “Economics and Culture”, UK, Cambridge University Press, 2001
    27. Vracker, Jeffery, “The Historical Development of The Strategic Management Concept”, Academy of Management Review, Vol.5, No.2, p.220-221,1980
    28. White, Edward P., “Licensing, a strategy for profits”, Chapel Hill, N.C. : KEW Licensing Press, 1990
    二、電子資料：
    1. Fondo, Lisa, “Art Licensing Show Steady Growth”, Art Business News, 2003. （http://www.findarticles.com/p/articles/mi_m0HMU/is_6_30/ai_102840385）
    2. D.G. Brian Jones and Eric H. Shaw, “A History of Marketing Thought”, 2002. （http://www.nuigalway.ie/faculties_departments/marketing/Noticeboard/ATorres/Jones%20&%20Shaw%20Ch02%20copy.pdf）
    3. Joshua Kaufman, “Protect yourself from copyright infringement – includes related article”, Art Business News, 2002.（http://www.findarticles.com/p/articles/mi_m0HMU/is_13_29/ai_95909523）
    4. “Art, Collegiate, Non-Profit, Sports and Trademarks/Brands See Gains”, LIMA Sponsored Harvard/ Yale Study, Freeman Public Relations, 2004. （http://www.licensing.org/news/PressRelease/LIMAStatisticalStudy04.doc）
    5. “Copyright”, the Free Encyclopedia ”Wikipedia”.（http://en.wikipedia.org/wiki/Copyright）
    6. ”History of Licensing in USA”, ARMM International, 2003.　　　　（http://www.artroadmm.com/ artlicensing03_eng.htm）
    7. “Industry Annual Report 2003: Licensing business captures a fair sales increase at worldwide retail in 2002”, License Research, 2003, （http://www.licensemag.com/licensemag/article/articleDetail.jsp?id=71767&pageID=1）
    8. “Industry Annual Report 2004: Licensing business captures a fair sales increase at worldwide retail in 2003”, License Research, 2004, 　　　　　（http://www.licensemag.com/licensemag/article/articleDetail.jsp?id=127352&pageID=1&sk=&date=）
    9. “Media Arts artists create new work for fall buying season”, Art Business Journal V28 No.10 p.22, Oct/2001. （http://www.findarticles.com/p/articles/mi_m0HMU/is_10_28/ai_79438836）
    三、網站
    1. ACC網站：http://www.artcc.org/　
    2. Art Plates Inc.：http://www.artplates.com/　
    3. Center for the public domain （美國公共領域中心）：http://www.centerpd.org/　
    4. CopyrightForms.Org網站：http://www.copyrightforms.org/　
    5. Creative Commons：http://creativecommons.org/　
    6. Jacquielawson.com藝術賀卡公司：http://www.jacquielawson.com　
    7. Frederic M. Scherer之個人網站：http://www.fmscherer.com/　
    8. World Cultural Intelligence Network, WCIN,（世界文化智慧網）：http://members.shaw.ca/wcin/2.0.arts.htm
    Description: 碩士
    國立政治大學
    科技管理研究所
    89359014
    94
    Source URI: http://thesis.lib.nccu.edu.tw/record/#G0893590144
    Data Type: thesis
    Appears in Collections:[Graduate Institute of Technology and Innovation Management] Theses

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