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Tags: art marketing, artist business consultant, business of art
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Comments (260)
Brenda Mangalore
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Hi Ann,
Thank you for generously sharing your expertise and time in answering these questions.
I’m just starting my art journey.
I have 3 questions:
Do I splash out and buy the best canvas/materials available or
just the best I can afford and price accordingly, working towards the best materials as I grow?
&
What is your opinion about limited edition prints vs just open editions? Do I offer both? Or just one over the other?
& finally I agree with your stance against discounting art
What other ‘specials’ can I offer besides complementary shipping?
Thanks muchly for any help with these Ann!
Brenda
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Ann Rea
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Brenda,
Unless you can really see a difference, use the least expensive. If you haven’t mastered painting yet, you are wasting your money on expensive supplies. And if they are expensive it make the painting too precious and that can be restrictive.
Find your unique voice and master your craft before you reproduce anything.
Focus on developing your work. You don’t need to give anything away. Offer a broad price range.
Make sense?
Ann
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Brenda Mangalore
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Thanks Ann!
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Cassandra Tondro
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Hi Ann,
I’m working on my prospect list, and I have a question about large interior design and architecture firms. Should my prospect be the CEO of the entire firm, or the managing director of the local office?
Best,
Cassie
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Ann Rea
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What does the book say?
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Cassandra Tondro
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The book says CEO, but then I wouldn’t be able to get an in-person meeting with them, unless I traveled to where they are. Doesn’t each office operate separately from the parent headquarters?
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Ann Rea
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You can get a phone meeting.
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Ann Rea
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BTW, You should always start your sales efforts in your own back yard and then work out from there.
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Julie Browne
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Hi Ann,
I’m wondering if this announcement says what I need it to say?
Local Clothing Designer seeks Focus Group Participants
I’m looking for a number of women to meet and confer on fit issues. Participants must have large bust and small waist measurements, and fit difficulties. We’ll gather for two hours in Berkeley and discuss problems, solutions and desires. A small compensation will be offered.
Please reply to [email protected] with e-mail and phone contact information. Date options are:
December 11th, 12th, 18th, 19th. Please indicate morning, afternoon or evening preference.
Thanks for your interest. Will you please forward this announcement to other women who may like to attend?
Julie Browne
Clothing Creator
[email protected]
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Ann Rea
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Rather than sending this announcement to a random audience I would send it to (targeted) and likely prospects by working with stylists or plastic surgeons. Involve women who you could convert to clientele.
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Nataliya
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1. What tools are there for artists to help maintain organized inventory and images?
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Ann Rea
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Just use a spreadsheet with the following colmnns:
Unique number
Title
Medium
Date created
Series title
Size
Owner if sold
Current price
Price sold
Location if not sold
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Daniel Barrett
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Ann-
Other than the few in “Recommended Reading,” is there a full list of required books for your artist clients?
Thanks!
Dan
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Ann Rea
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Funny. I was just thinking of doing this. I do recommend “Tribes” by Seth Godin.
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Daniel Barrett
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Almost done “listening/reading” the audiobook of Tribes. Absolutely great. Standout thought from today’s listen: “Being charismatic does not make you a leader. Being a leader makes you charismatic.”
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Ann Rea
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Isn’t it great! I love knowing that I should be a heretic. I always was and now I have no reservations. I’m quite sure I was burned at the stake as a witch in a former life.
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Jimmy Springett
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HI Ann,
Nice idea writing about artists issue, through questions.
In the past 3 years, I’ve worked very diligently on-line blogging and keeping my e-newsletters coming, plus a current work portfolio. I participate in many art shows locally, and help other organizations through art donations. What I seemed to have learned, the most about my art career and current sales has been learned on ebay, selling my art directly to collectors, and let my customers decide on pricing…no high reserves, no reserves at all. Takes a bit of courage to see some art sell for less than what I had in mind, but through careful work, my prices improve.
My question is the artist’s website as important today, considering other visible online e-mail and blog servcies, like WordPress etc? I am tunning into more collectors on some of the newer mediia outlets and by selling on ebay. I’m learning how to develop more art that is the kind of art people appreciate and are willing to buy, and by increasing my sales and developing a pull for my work, I work harder and in that process, learn not only wiser use of my time, but learn and paint more beautiful art.
Have a good day.
Jimmy Springett-wildlife artist
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Ann Rea
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great question!
Over 30% of my sales comes directly from my eCommerce site. These are sales that can occur when I’m sleeping and to people I’ve never met. I have a worldwide retail presence 24/7.
It is critical and too many artists are missing sales because they don’t have an effective eCommerce site and online marketing strategies.
And I have never had to reshape my work to what I guess the market will like.
Let me put it this way. If you show your work online and talk about it online but you do not have an eCommerce site, then it’s like having a store without a cash register. It’s that simple.
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Daniel Barrett
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Hi Ann-
Your blog posts are consistent and poignant. You have great depth in your website and the other media that you send out. You have a strong output of painting. You show up in a very present way as a coach.
Do you have any overwhelmed, “holy-crap-this is too much,” moments? If so, do you have any thoughts on how to reset and refocus so as not to lose too much time to monkey mind.
If not…well… congrats on your lack of neurosis or self-doubt. When you write that book, I’ll buy two.
To be clear, the self doubt isn’t about the creativity, but the amount of “to-do’s” it takes to get the work AND the work around the work off the ground.
D
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Ann Rea
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Thank you Dan!
Sure I have those moment but they are very few and far between because I’m clear on my goal and I don’t try to manage my time. I manage my priorities.
This post should be helpful….
https://artistswhothrive.com/2010/04/six-things-each-day/
Cheers,
Ann
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Andrea
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HI Ann, my question is this: , and what’s the best time to start a coaching program? I’m a new photographer and have spent a couple of years in a local camera club and taking classes, and have gotten to the point where I’ve been part of a couple of group shows at local galleries. Am I selling stuff? Not really. Do I know who I am as an artist yet? Still discovering. Do I know who my tribe is? not yet.
What do I do next???
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Ann Rea
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Hi Andrea,
I work with a range of artists who have various level of professional experience.
So it’s a really matter of commitment. Are you committed to the idea being in business? That’s the question I would ask.
If you’re interested in applying for coaching we can send you the application.
Cheers,
Ann
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Nataliya
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Hello Ann,
Can you give a suggestion on how to assure that a mission statement is not only attractive, clear and short, but also true and honest?
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Ann Rea
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Hi Nataliya,
So that it IS clear and honest it’s best that it come straight from you. You don’t need an example.
What is it that you want to accomplish? Why? What is it that you value. Besides yourself, who will this serve?
Ann
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Nataliya
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Hello Ann,
Four questions if I may:
1. How can I plan to sell work I haven’t yet made (how to set expectations that I will enjoy and be able to fulfill) ?
2. How can I be sure that my targeted tribe will be able to afford the kind of work I want to make?
3. How can I price the work I haven’t made yet?
4. How do I keep track of patterns that I notice as I begin to identify my tribe/target market?
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Ann Rea
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1. Your talking about selling commissioned work. This is the basis for my business. You are in charge. Outline your terms and the proposed process in writing and show examples of your existing work.
2. If you offer a wide price range you help ensure that more people can afford your work. Note that art is a luxury item, yet most artists price their work too low.
3. Use your current prices as a basis. Appraise and broaden them.
4. Always study your market. Examine patterns and pay close attention to their world view.
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Tom Schwartz
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Hi Ann,
I read your post “Should I Discount My Fine Art” in Entrepreneur The Arts and had a question for you. The post was addressed to an artist (I believe) and essentially cautioned that since original fine art is a luxury item, to discount it amounts to shooting yourself in the foot. “Build your brand. Don’t discount it.”
So here’s the question: Do you feel this is true for online art galleries too? Case in point: We’ve just launched an e-commerce website (www.hungarianartmastersgallery.com) that is selling my family’s large collection of Hungarian fine art. We want and need to raise awareness and access to this niche in the collector market and we’re offering the art at its auction fair market value, based on independent appraisal. Since we sell exclusively online, there’s no retail overhead, mark-ups, middleman costs or auction buyer’s premiums added on. We maintain a range of offerings, at different price points, and our unique value proposition and approach to marketing and brand building is to offer international collectors investment-grade Hungarian masterworks at savings of 50% or more below retail gallery prices for comparable works.
Do you consider selling fine art in the secondary market, online, and at auction fair market value (without retail “brick and mortar” overhead added on) to be harmful “discounting”?
Thank you for your thoughts and kind consideration.
Sincerely,
Tom Schwartz
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Ann Rea
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Hi Tom,
Since you’ve just launched this venture, and you are offering work at “fair prices”, why are would you want to discount?
Ann
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Teri Vereb
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Hi Ann,
I am just starting to seriously pursue promoting and selling reproductions of my work, but of course, before i have investigated copy writing, licensing, etc.
I did just read your article which will set me on a good path going forward, but i have now found myself in a potential sticky spot with a long term client/ restaurateur. Over the last several years I have created several custom murals on canvas for her restaurants, including an interpretation of her logo (created by someone else), Yesterday she explained her future plans of using one of the pieces as the menu cover, a to-be-published cookbook cover, and the logo piece as a wine label. These pieces were all created without a contact or anything specifying the restriction of her usage of the images or my potential compensation for that.
With that said, and the fact that they were created specifically for her (one with her design), do I have any rights to even have a conversation with her about being paid for her ‘master plan’; and if so, how do I calculate a figure?
I am very excited about her creating her identity around my paintings and want this to be amicable, though I know she will debate this concept of them being ‘mine’ and not ‘hers’.
I also do portraits, and will be doing one of her in the near future that I’m SURE she will want to reproduce, and that seems like an even grayer area since it is her image.
I would greatly appreciate any insight or advice you might have on these issues (outside of the fact that I’m an idiot for working without a contract..I’m aware!)
thank you,
Teri
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Ann Rea
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Hi Teri,
Of course I am not an intellectual property attorney and this does not constitute legal advise. But!
Your ownership of your intellectual property is not up for debate. It belongs to you and you alone.
Too many creatives, and therefore, too many licensees do not understand that this is United States and international law.
You may charge whatever you see fit for each specific use. I would not offer unlimited use.
You can find some pricing guidance and standard licensing contracts here:
https://www.graphicartistsguild.org/handbook/
Thank you for sharing this lesson. I hope it can save others some grief.
Do not give away your property for your sake and for the sake of all of the artists who have to deal with this issue.
And remember, no one is doing you a favor by using your property without your agreement and your compensation.
Good luck!
Ann
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Joshua Lance
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Hi Ann,
I’m into learning new, and valuable techniques as an ambitious landscape painter. One thing I came across was the idea of using an I-phone app to help promote your site. Do you think this is a good option of artists and if so, do you know anyone you would recommend to design them?
Thanks!
Josh-
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Ann Rea
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Hi Josh,
I don’t know have any resources for building aps but I’m sure that there are many.
That said. I think that you might have the cart before the horse.
I would recommend first launching a quality eCommerce site versus maintaining just a website or blog. The goal is to drive traffic to your site but once they get there you want them to buy one of your paintings immediately.
Without an eCommerce solution is like running a store without a cash register.
I hope this helps!
Cheers,
Ann
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Nataliya
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Hello Ann,
Two questions if I may:
1.I was looking at a printing company to make prints and I saw the option of getting a Certificate of Authenticity for an extra $9 for each print. What does a Certificate of Authenticity really certify and how does it add value to the art buyer?
2. Photographer vs Photography equipment and workshops?
I don’t have quality photographer equipment and I don’t have a professional background in photography but since I plan on making artwork while traveling I think it may be a good idea to take professional photos of my work on the spot. So I’m not sure what would be a better investment, hiring a photographer every time I need to take pictures of my work, or getting the equipment and taking a few workshops to learn to do it myself. What is you recommendation?
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Ann Rea
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1. You can make your own Certificate of Authenticity. It establishes the provenance, from the French provenir, “to come from”, means the origin, or the source of something, or the history of the ownership of a print.
2. I believe that you should do everything professionally. If you are not a professional photographer consult one who specializes in fine art photography.
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Patrice
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Hi Ann
LOVE the website and information. I’m venturing out to set up a booth at two events primarily for exposure, but also with sales objectives. Wanted to get some basic pointers from you. I sell my own watercolors, giclee prints and notecards of my work (3 price lines) to a tight niche – rowers, and I am setting up indoor booths at two large indoor rowing competitions. I have my merchant account, easels for original pieces, some clear displays for the notecards and small prints, and a small bin. I’ll make sure I capture names and email addresses and have prices clearly marked? Any other advice for this type of venue – its new to me! Thanks!
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Ann Rea
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Thank you Patrice.
I recommend doing promotion of this event and a system of follow up withe the contacts you make. Maintain an “opt in” system for emails.
Hope this helps.
Good luck!
Ann
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Pixie Glore
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After our first coaching session I was surprised to learn that sales for luxury items were actually up in 2010. I confirmed art sales here: https://www.christies.com/about/press-center/releases/pressrelease.aspx?pressreleaseid=4522
It is difficult to transfer that information to my own business mind–because of all the gloom and doom everyone has been saying over the last year–but the above link is proof supporting what you said. I like your metaphor of the “tape player” and to erase the negative and replace it with the positive.
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Ann Rea
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Hi Pixie,
Many artist clients will entertain negative thoughts that are based on their results. Past results are not necessarily an indication of future results, particularly if you change your strategy, improve your game.
Artists who thrive change their results by changing their approach to marketing their art when the market changes. The market changed, many business did not respond to it, and they paid the price.
Ann
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Tareesha Burton
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Hello Ann,
What are the benefits of using an art marketing coach or trainer?
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Ann Rea
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Hi Tareesha,
I think the benefits are similar to a competitive athlete working with a trainer. The trainer provides experience, perspective, and accountability that can help you advance faster than you could on your own.
For my clients the advantage is that they can avoid enduring some of the expensive mistakes that I made, saving them time, money, and frustration.
That said. I don’t work with everyone. In order for the relationship to be productive the artist has to be motivated, among other things.
Cheers,
Ann
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Debra Disman
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I would love to read a post where you discuss your own techniques of time management, including burnout and inspiration time. How creatives and solo-preneurs create their days, schedules, work and lives is fascinating, and I am sure your post would be, as well. Thank you for all you offer to the world.
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Ann Rea
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Hi Debra,
I have written on the subject, see this link.
https://artistswhothrive.com/2010/04/six-things-each-day/
Ann
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Laura Sutherland
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Hi Ann,
I was in your lecture today at Cabrillo Collage and was the landscape designer who stood up in front of the room with you – thank you for all your help!!
You asked me to email you about information on networking, but I do not see an email address on your site.
It was a good two hour spent today – thanks again
Laura
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Michele Kennedy
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Dear Ann, My gallery manager sold a painting 9 years ago for $6,200. The owner was provided with a certificate of authenticity at the time. 6 months ago on a whim I went to the buyer’s business website and happened upon my image being used on a wine box as part of their product line. I called the business with a friendly non-confrontational attitude to a) help them understand that the artist retains the intellectual property rights and that a settlement should be discussed, and b) suggest some ideas for collaboration. In an email the buyer claimed ignorance of the usage rights issue but was apologetic about the misunderstanding and agreed that it was used without permission. She offered to forward a one-time use of rights agreement template that she said she has used with other artists (this suggests that she in fact may be aware of the usage issue). We did not agree on a price at the time. We are both interested in collaborating on other images for a product line and therefore I would prefer to settle on a reasonable fee rather than demand the high end of the range and certainly would not request triple damages as has been suggested to me by a copyright attorney.
My question is, what are the factors in determining a one-time usage fee (i.e. original sale price, past sales of her product, the fact that i would like to continue the relationship, etc) and should I propose a $ amount or allow her to put a number on the table first? As a fine art painter I know how to price originals but am not familiar with how illustrators price their work for commercial use.
I am about to send a follow up since she has not sent the agreement and it has been 5 months. I realize that I should have followed up sooner and may have enabled her procrastination but want to close this transaction soon and want to determine if she is indeed being genuine about the use of additional images. Thanks for your advice.
Michele
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Ann Rea
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Hi Laura,
I recommend you reading The 29$ Solution by Ivan Misner, PhD
Ann
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Ann Rea
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Hi Michele,
I caution you to consider why you want to work with someone who:
1. clearly has no problem taking what is not theirs
2. falsley claims ignorance
3. does not do what they said they were going to do start to remedy their unlawful infringement
You state you are a fine artist but your intellectual property is being used as commercial illustration. Which type of business are you building?
That said. I recommend the Graphic Design Guild’s Annual Publication for guidance on pricing and contracts.
Be careful who you get in bed with in business.
Good luck,
Ann
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Ann Rea
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Hi Kellyann,
Pardon me but I don’t understand your specific question.
Ann
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Lisa Baker
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Hi Ann: I’ve been to three of your Artists Who Thrive seminars, and I’ve learned a LOT. I have been a painter for decades, and my pieces sell well locally and in the form of greeting cards in gift and bookstores in the East Bay. I have a pretty good unique value proposition, and I use it to market my mysterious, romantic, twilight, mostly Bay Area “secret” landscapes. Until I figured out what kind of website I wanted, though, I’ve been keeping only an artist blog to keep my collectors updated on my work and my name out there. I am now finally considering an e-commerce site.
My question is this: Even if you have a terrific, well designed and easy to navigate e-commerce website, how do you get people to seek it out and buy from it? Is it necessary to have extensive media coverage, gallery credits and a large base of collectors to have a website that will sell art on a regular basis?
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Ann Rea
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Lisa,
I’m so glad that you have been learning.
I would encourage you to look at it this way. If you are going to have a website you might as well have an eCommerce site. Why? Because having a website is like have a store without a cash register. Get your store a cash register.
You can use several strategies then to drive traffic to your eCommerce site. They are not all that complicated. You can start with:
1. email marketing
2. Face Book
3. Twitter
4. tell people you meet in person that they can now shop online
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Lisa Baker
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Thanks for your reply to my last query – I’m now investigating Facebook! I’m painting as much as I can, I have one small exhibit in Berkeley and another on the way, and I’m taking other classes in social networking for small businesses through SBDC. What a marvellous free resource, and I continue to learn and grow as an artist and as a self-employed businesswoman!
On the challenging side, even though I’ve been an painter for most of my life, I’m 60 years old with bad arthritis, was laid off from my Art Director job of 31 years a year and a half ago, and I also have a 90-year old father who’s still living in his house alone and is a constant worry. Ah, life…
BUT – Today got your Do Not Give Up email, and it was like a perfect message from the blue, as it were!! I’m not especially depressed or gloomy, just very tired – but reading about Santa and her challenges, and especially that French proverb about how “one can go a long way after one is tired” made me laugh out loud, and gave me new energy to keep pushing the boundaries, and to pace myself to keep my energy up.
You are a constant source of inspiration – Thank you!
Lisa H. Baker
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