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November 30th, 2008 by moniesAuthor: Array
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November 30th, 2008 by moniesOver the past year, Kinnerton has put itself at the forefront of the fast moving character confectionery market. Whilst characters such as, Bob the Builder, Tweenies, Barbie and Thomas the Tank Engine remain core lines for Kinnerton in the pre-school market sector, recent licences acquired include Spider-Man, Felicity Wishes and Kylie.
However, as MD Clive Beecham says: “Our focus is not simply to offer character chocolates but more to combine these with our own fun and creative girl items as part of a wider `value-added’ concept to entice the end consumer.” To underline Kinnerton’s creative commitment to its consumers, on average 60% of seasonal ranges are new every year.
Ever-expanding choice
Kinnerton has led the way in bringing categories such as chocolate games, jelly lolly lines and character merchandise in general to the market place. One to watch out for this year is Spider-Man. To coincide with the release of the movie, due to hit our screens in June, Kinnerton will be launching an array of web-tastic delights such as Spider-Man’s Candy-filled Maze Games (rsp 99p), Spider-Man Jelly Lollies (rsp 55p) and for the first time a 4 pack of Aerated Milk Chocolate Bars (rsp 89p) which will make for a delicious bubbly treat.
Kinnerton’s unique appeal remains on delivering fun and truly innovative products that are above all, safe for our children to eat.
In 1999, Kinnerton became the first European manufacturer to divide its factory into dedicated nut and nut-free production areas.
Beecham says, “We are the pioneers in manufacturing safe, quality assured confectionery, with our nut-free chocolate. We have invested well over 1m [pounds sterling] in doing the right thing.
* Kinnerton Confectionery Ltd
1000 Highgate Studios
53 - 79 Highgate Road
London
NW5 1TL
Tel: 020 7284 9500
Fax: 020 7284 9501
Web: www.kinnerton.com
* Key personnel
Group managing director
Clive Beecham
Managing director
Richard Reilly
Marketing director
Rachel Grice
Sales director
Dave Clack
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November 28th, 2008 by moniesAvanir already sells an over-the-counter docosanolbased cold sore cream. The firm wants to develop a similar product for genital herpes infections. … San Diego-based Ilumina, Inc. signed a deal with a British biotechnology company to identify disease-causing genes. Under the agreement, Abindgon, England-based Oxagen Limited, a private genomics company, will give Illumina samples from its library of genes. Illumina, in turn, will use its technology to generate information on the genes. Financial terms of the agreement were not disclosed.
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November 27th, 2008 by moniesThe SBA 504 loan is processed through the cooperation of a Certified Development Company and participating bank. The Certified Development Company (CDC) is a non-profit organization established for the purpose of increasing business opportunities and stimulating employment. It is the CDC’s goal to benefit the entire area of its operation through increased employment, sales volume and profits. The CDC assists the small business to obtain commercial loans through private sources in cooperation with the U.S. Small Business Administration.
The SBA 504 loan is distinguished from other SBA loan programs in these ways:
* Lower down payment. Allows a small business to conserve valuable operating capital by injecting a down payment of just 10 percent of the total project cost. SBA provides 40% up to a current maximum of $1.3 million and the bank provides 50%.
* SBA fixed interest rate. Borrower knows the cost of occupancy for the next 20 years. Rate is usually below market rate.
* All project costs can be financed including acquisition of land and building, land and construction of a new building, renovations, certain machinery and equipment, soft costs such as title insurance, appraisal, environmental, legal and bridge loan fees.
* Collateral is typically the assets financed. This allows other assets to be free of liens and available to secure other needed financing.
* Long term real estate loans are for 20 years, heavy equipment for a 10 or 20 year term and both amortized over the life of the loan.
* The 504 program encourages banks and other lenders to make loans in the first position on reasonable terms, helps them retain growing customers and provides Community Redevelopment Act (CRA) credit.
* The 504 program benefits the borrower’s community through job creation and retention. Businesses that are eligible for 504 loans are:
* Small with a net worth of less than $7 million and with a net profit after taxes of less than $2.5 million.
* Organized for profit.
* Any type of business, retail, service, wholesale or manufacturing.
The SBA’s Certified Development Companies (CDCs) serve the community by financing business expansion needs. Their professional staff works directly with the borrower and participating bank to tailor a financing package that meets program guidelines and the credit capacity of the business.
Information for this article was provided by Landmark Certified Development Corporation. To learn more, please contact 562-690-6400 or visit the website at www.landmarkcdc.org. To learn more about the North Los Angeles Small Business Development Center, please call Ajay Patel at 818-552-3321 or visit www.sfvsbdc.org.
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November 27th, 2008 by moniesThe 10 sessions organised for this year’s show include two workshops and together they tackle a range of issues, from royalties and licence-pricing strategies to spotting trends in internet-launched brands and characters.
Subjects such as ‘Brand building through brand licensing’ and ‘Style guides and packaging for the 21st century’ will appeal to retailers as will the retail panel, which is a new feature this year.
“The panel will focus on how to get shelf space at retail,” says event director Jessica Blue. “It will give licensees a valuable insight into what retailers’ priorities and concerns are.
“From a retailer’s point of view it will give the opportunity to communicate with licensees and tell them what they look for in licensed products and how their decision-making process works.”
Argos, Clinton Cards and Next are among the con firmed retailers sitting on the panel, while the seminars will be led by a diverse panel of industry experts from PricewaterhouseCoopers, brand licensing agencies such as MODA International Marketing, Kids Industries and Beanstalk Europe, and legal experts including representatives from Halliwells LLP and Briffa.
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Alongside the Licensing Academy is the Art, Design and Image Licensing zone. This area is dedicated to one of the fastest-growing areas in the licensing industry and, according to Blue, exhibitor numbers are 60% up on last year.
“This area has been renamed in 2007 due to the addition of Image Licenses in the line-up,” she says.
“The Art, Design and Imaging Zone will also have its own identity and unique branding to highlight its increasing importance in the licensing industry.”
Blue notes that this is a particularly interesting area for representatives from the retail industry because it offers a good platform for retailers to find their own branding solutions as well as an opportunity to buy and explore the latest licences in the marketplace.
“Design agencies and companies such as Christies Images, Medici and Bridgeman Art Library will be exhibiting alongside lesser-known designers who will all be using the opportunity to have their work seen by a wide audience,” she says.
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November 27th, 2008 by moniesTHERE IS MUCH with which to agree and to disagree in Patricia Anderson’s Art + Australia. How could it be otherwise when the topic is money and art? My first point of disagreement is with the title. A more apt one would have been “Art + Sydney, Sometimes Canberra, Occasionally Melbourne and Practically Never Anywhere Else”.
Whilst it may be accepted that the new money is predominantly in Sydney, and in consequence, contemporary art and the major controversies are also likely to be there, that has not always been the case, and isn’t invariably so now. For example, the author dwells upon the sale of the Mertz collection, and the old story of the litigation between Mary Edwards and her followers, and the trustees of the New South Wales Art Gallery over Dobell’s Archibald Prize-winning portrait of Joshua Smith; but she makes no reference to the Trout sale in Brisbane at the end of the eighties by Christies, which realised $7 million, the highest amount for a house sale in Australia until that time, and the intriguing litigation that followed, between the Queensland Art Gallery and the solicitor who was alleged to have failed to draw up a timely will for Lady Trout, leaving the bulk of her collection to the gallery. The evidence that emerged in the trial would teach a classic lesson in the troubled relations between major donors and public museums.
The book does however provide a comprehensive account of practically anything of art interest that has happened in Sydney since the end of the Second World War. A particular strength is the author’s demonstration of the links between art, art fashions and money. She is uniquely well qualified to write about these. She has conducted a commercial art gallery herself, has written about contemporary jewellery in Australia, has been a book reviewer, an art commentator, an art critic for the Australian and the author of a biography of Elwyn Lynn.
This book is essentially a collection of essays, thirty-one in fact, not arranged chronologically–an unpromising way, one might at first sight think, to write a history of art. But the result is highly effective. It is possible, without loss, to read each essay, separately and in any order. The author never loses sight of her themes, and convincingly shows that however much critics, curators and artists might wish it otherwise, the two, money and art, can never be separated.
It is impossible not to admire the immense research which has gone into the undertaking, all of which is fully recorded in the extensive and accurate endnotes and index. The writing itself is polished, but like all authors Anderson is not innocent of the overuse and misuse of some words. Forensic appears too often, and some of the artists to whose work the word fulsome is applied would not be happy about that.
Any chapter could be selected for profitable reading. Chapter three is about art and the empire. The story has been told before–but not, I think, so well–of how almost all Australian artists yearned for recognition in the United Kingdom. Most Australians interested in art know that Lord Clarke, as he became, took up Sidney Nolan, and virtually made his international reputation singlehandedly, but less well known is the art critic Brian Sulle’s comment in the London Evening Standard in 1992, that Nolan
would have been better occupied combining paint into false woodgrain on cheap timber doors … than
employing his technique to make a hero of the bandit Ned Kelly, and thus remind us all in perpetuity of Australia’s bad beginnings in Botany Bay, the landing place for shackled sheep stealers and all other criminals.
There is a particularly interesting chapter on Dr John Joseph Wardell Power, an important but much neglected artist as well as benefactor. Anderson provides all the essential details in a few pages, of the repeated failure of those whose duty it was to give effect to his generosity as he intended: a stark warning perhaps to benefactors generally, who naively assume that their testamentary intentions in art matters will not be honoured more in the breach than in the observance.
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