I thought you might enjoy reading a few of the following that all have to do with how-to best marketing your art products. They are articles and columns that have appeared in various art magazines.
MAILING LISTS - Seven ways to gather those names
Ah, mailing lists. One of the best marketing tools available for all levels of artists yet one of the most dreaded chore the artist has to deal with in order to be financially successful. Not only are there at least seven different kinds of mailing lists there are several ways to store/keep these lists. Let's start with how to keep tract of these wonderful people, galleries, and even institutions
How to keep the list
Basically you are either a computer lover or a non-user. That is you keep all your information on the machine or do it by hand. There are pros and cons to each system.
On the computer:
Pro - easy to find, easy to update, easy to move around and code especially if you have some type of software that is designed for this purpose.
Con - requires some skill in navigating especially if you use a spread sheet or one of the more complicated software programs.
Special problems - Storing. Never store this vital information on your hard drive. Always use a disk or CD as a computer may crash and you will loose all your data.
By hand:
Pro - easy to find, easy to update, easy to move around and code
Con - requires time to input data, sometimes cards get messy, hard to erase and add new data. Needs some organizational skills
Special problems - needs a special storage box and perhaps different colored index cards to help code names. However, if you are not computer savvy, this is the way to go.
It really makes no difference which way you store the data and the names. You
should use the way that you are the most comfortable with. One of the more basic
problems is finding the time and energy to input the information and to keep
it cur
rent and up-dated. For this there is no real answer. Some artists like to take
a day, say once a month, and work on their lists. Others, who work on the computer
often, input when ever they have new information that needs to be added. Still
others, who hate clerical work, simply give the job to someone else - that someone
being a family member or hired help.
The next decision is how to gather the names.
Gathering names
This is where most emerging artists run into a bit of trouble. They ignore this aspect of marketing and fall back on the old belief that if they just "paint a better/different painting" the world will come running to them. Nothing could be farther from the truth. To be financially successful you need to keep consistently adding to your list. Okay, so your list is small, say under 50 names. Make it one of your goals this year to add at least another 50. Once you top 100, you can start asking some of these great people for referrals, which is still another way to add to your list. Your goal can be whatever you wish from your starting 50 to in the thousands. Remember that when you give shows or exhibitions and are using your list, only 10% or less will actually show up…so, the more names you have, the better you will sell.
You must reach out the "touch" the potential consumer and not just once, but as often as possible and in as many ways as possible. You need to collect viable names. Names of people that are already interested in art and have some money to spend. There are seven ways to do this.
1 - known consumers - those who have bought your product
2 - targeted consumers - a list of those places/people you want to sell to
3 - exchanging lists with other artists
4 - if you teach, listing the participants in your classes and/or workshops
5 - from your art show or exhibition - the guest book names
6 - from your web site
7 - friends, neighbors, and people you think would like your work.
1 - Known customers
This is, of course, the very best of the best list because these people have already spent money on your artwork they are much more likely to buy from you again. This list is your gold list and should be updated and added to as often as possible. (See side bar for hints on the type of information you should collect.)
2 - Targeted consumers - a list of those places/people you want to sell to
This list is your wish list. It might include several gallery owners whose
galleries you would love to be in, or it could be your favorite doctor or dentist's
office where you know your work would look great. What about your friend down
the block who works for an interior designer? Or that new office that just opened
up in your area and has all those bare walls?
How about the movers and shakers in your community? Know the mayor of your town? Put him on your list. How about the town's council members? Add them. Get on the arts council and learn who is who in your area.
Here's another way to use a targeted list. One artist painted airplanes. He painted one of their first planes from a specific airline and then secured the mailing list of all the pilots who had flown that particular plane. Needless to say, he sold many of his prints this way
3 - Exchange lists
Perhaps you belong to an art group and in that group there are several artists that you would like to work with as their type of paintings would complement your work. Suggest exchanging lists for your next show, or better yet combine your lists and have a show featuring both of your paintings. Remember the more names you have, the more invitations you can send out and the more people will come to the show.
4 - Teaching lists
If you teach (or take a class/workshop) keep a list of the participants. These
are great individuals to add to your main list as potential buyers.
5 - From your art show or exhibition
Here is where your guest book becomes important. Those people who take the time to write down their names and addresses deserve to become permanent members of your "hit…oops, sorry, mailing list.
6 -Web site names
Those name that you collect from your web site need to be delegated to a list all by themselves as these people come from all over the globe, not just down the street and can only visit one of your shows if it is held on your web site. This presents another way to get your image out in front of the masses, however, don't expect too much action, as most buyers want to see the work up close, and in some cases even touch it.
If you are truly interesting is collecting these names you will need some software to do this. Many artists also collect names by means of inviting the viewers to sign up for a free newsletter, which you then have to occasionally write and send out. People love to see works in progress and learn about how an artist creates.
7 - Friends, neighbors and relatives
Although these folks love you and your work, they also usually want a "deal."
Some kind of a discount, a special price, a special frame, something that you
can do just for them such as a special flower in a special color, etc.
You need to learn to set some rules for this group of individuals so they don't
continually "take advantage" of you. Perhaps have a special show just
for them.
So, the bottom line is you need to collect names and have a mailing list. In the side bar are a few suggestions of the different kinds of information you might want to consider gathering on your customers and potential clients. One artist, when she was wrapping up a small watercolor she had sold, got into a conversation with the customer and found out that the woman's daughter not only loved purple but also horses. The artist carefully made note of this fact on the client's card. Several months later she had completed a lovely watercolor of a purple unicorn and immediately thought of this client…she called her, sent her an image on the web and sold the painting the next day.
Information you should consider gathering to put in your local mailing list
data base (Remember if collecting names off the web, you only need their e-mail
in the beginning. Other information can be collected when and if that person
becomes interested in buying.)
Name
Address
Phone
E-mail
What they purchased
Date
Price
Title and short description of work
Style
Main colors
Size
Medium
Matting and framing choices
Anything special about this painting/product
Background information:
Age
Marital status
Type of customer (collector, just wanted a gift, an interior designer, etc)
Special interests (if applicable)
Type of home furnishings (if known)
Color preferences, etc.
Follow-up
List last contact date
List mailing (both snail and e-mail) of last newsletter, etc
End of Article
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THANK YOU NOTES
Thank you notes, hand written thank you notes with an image on them, sent through
the regular mail are greatly under used by the emerging artist. Many of these
beginning artists THINK promotion ends with the sale. Why waste time and energy
writing a note when it is so much easier to use the phone or send an e-mail?
And why even do that? After all you thanked the person at the time of the purchase.
However successful artists KNOW that meaningful promotion really begins with the sale and a personalized thank you note is one of the BEST ways to endear yourself to your customer. This type of follow-up and contact with these wonderful people who have shelled out hard-earned money to buy your product will increase not only an artist's reputation, but will increase sales - for these folks are your un-paid sales force. They tout your talent to their friends, relatives, neighbors and business associates as well as their co-workers. They show off your images and in general tell the world what a wonderful and talented artist you are.
Therefore it behooves you to stay in touch with these people and give them encouragement to shout your praises by give them something extra with the thank you note that re-enforces their perception of what you do.
THE CARD
One of the best weapons in your after-the-sale promotional arsenal is your PERSONALIZED
IMAGE CARD or PIC. This PIC can be used not only as a thank you card, but as
an appreciate note, stay-in- touch card or simply a "this is what I am
doing" note. But it's very best use is the thank you note
A PIC is usually done on a standard sized note card (always fit the card to
the pre-purchased envelop) with one of your images on it. This image can either
be printed on the card in your computer, mass produced through a commercial
printer or can be a quickly done original. The image can be personalized, i.e.
a small version of what they bought, or a new image of either one of your finished
paintings or even one you are working on.
The note card should be blank inside. No pre-written words such as thank you
or I appreciate your business, etc. Blank cards allow you the artist to personalize
the sentiment or comments you wish to include. By individualizing the written
word,
you increase the possibility that the consumer will remember you and seek you
out the next time s/he needs a painting.
These notes should be hand written in your very best writing. Using a elegant
writing instrument, perhaps even a calligraphy pen, preferably with a medium
point that will produce memorable lettering that says to the reader, you took
some time and effort to thank them.
WHO SHOULD GET THE CARD?
A PIC should be sent to everyone who buys one of your products
Of course, thanks should always be augmented with a gracious smile, a handshake and a twinkle in the eyes - but in the art world, simply saying thank you at the time of the purchase is not enough if you want your art career to be financially successful.
One last thought. If the sale is really large the thank you note should be
included with something else. Depending on the amount of the sale, how well
you know the consumer, and if you think this particular person, company or corporation
has the power to generate more sales for you, perhaps a bottle of wine, tickets
to a show or sports event, or even a framed print might be appropriate.
Everyone likes to be thanked for their good taste and nothing says thank you
better than a personalized hand-written thank you note.
Three ways to create personalized image cards (PIC's)
1 - Do-it-yourself
One watercolor artist, who sells quite a lot of work during the year, makes it a point to do a small original pen and ink drawing each holiday season, from which she makes up a limited number of small prints. Each print is then hand colored, usually with some type of watermedia or colored pencil, to match that particular's person's décor - which she knows because she kept a record of it when she sold them the original product. On the back of the print, she tells them it is a limited edition mini- print, made just for them and suitable for framing. Along with the print, she scribbles a personalized short note on the back of the print.
Another artist, who only sells now and then, her kids are still at home, so her time is limited, does small original images which she includes in her thank you note. She also does a quick image on the envelope. "I have designed a small waterfall that I can create in less that 15 minutes. I try to slightly change the color of the water to go with the original painting the person has purchased. For sales of over $150 or so, I send out these small originals” Dorothy Humel.
2 - From your computer
"In this day of computers I use mine to print out a card that's custom
designed for
anyone who buys from me. I have a simple Word document layout that takes two
quick passes through the printer. I sometimes print the painting they just purchases
on the card or I may use another image and simply thank them for their patronage.
I print a copyright on the back of the card and chip a business card inside.
I don't have any fancy re-printed cards, however. These are simple, inexpensive
and personal." Deb Secor
3 - Professionally printed
Most printing houses usually have some sort of a multi-card set up (a gang run) that prints multiplies at a reasonable cost. The trick here is to be sure to choose an image that will be universal in nature, so it can be used for more than just a thank you note. High runs of note cards can also be sold as a separate item. Many artists box 12 to 16 cards and sell them to galleries and off their web site.
What to include in your thank you note
- Be sure to date the card
- A personal greeting
- Always use the individual’s name
- Point of reference
- What are you thanking this person for - make a reference to the painting
they bought
- Closing
- Make it personal - allude to the future - perhaps offer to see them again,
take them to lunch, help hang the painting, tips on framing (if a print), how
to
clean it, if an oil, etc. what ever you feel is appropriate. Or you might invite
them to a private showing at your next open house.
- Ending
- Your signature
Then...
- Follow-up, perhaps with a call or another note if you haven’t heard
back
about setting up a “get-together” meeting.
- Be sure to add this name to your mailing list
End of article
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BUSINESS CARD Check List
Believe or not, even in this computer age, artists still need business cards. I encourage you to have one. Below is a quick way to check your card to see if it is user friendly.
Function of the Card
States your name clearly
States how to get in contact with you in large, easy to read type/font which includes your:
- web site address
- e-mail address
- should be on a different line from web site address
- phone number (hopefully you have a business phone)
- usually in the upper right hand corner
- only put your street/studio address if you have a regular place of business
outside your home or use a
States concisely what it is that you produce or do
- the word "artist" or "art teacher" is not sufficient
in this day and age of specialists because it doesn't actually tell the viewer
what it is that you do
- be specific…watercolor landscapes, pastel portraits, pen and ink
architectural rendering, etc.
Design of the Card
Aesthetic elements
- the layout of the card is not too crowded
- the color and paper should be currently popular
- the type style or font is easy to read
- the logo is well designed and not a brush and palette
- if you use your signature, be sure it is readable
Emotional aspects
- is your card distinctive
- can your card be easily saved
- keep it horizontal
When to change or re-do your card
When you move or change addresses
Or perhaps if your area code is changed or your phone number
- Hint - you should have a separate business line for your art business
When you change from one type of art work to another
Approximately every two to three years
- why - cause paper colors, inks, and your style of artwork will change.
- Nothing is worse that having to cross something out on your card and write
in
the new stuff. It looks so un-professional
End of Article
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PRICING YOUR WORK
Your painting is finally done. You’ve picked out the mat and the frame and the work is ready for the marketplace. Now comes the hard part - deciding what to charge.
At the beginning of your career, it’s advisable to keep your prices affordable. To figure out an attractive price, do your own market research. See what other artists are charging for their work. Once you’ve checked out your competition, price your work a bit lower. Pricing your work so it will sell is your immediate strategy, but now you also need to have a long-term pricing strategy. Do you want to pursue galleries and the high-end collectors’ market, which is about 10% of the total market, or would you rather offer more affordable prices - concentrating on the mass market which comprises about 90% of the art market?
Image you have a framed 16 x 20 pastel painting ready for the marketplace. Following are four different ways to price your work. Is one better than the other? Not necessarily. You need to find the way that works best for you and your approach to marketing. Remember that the following are general guidelines and that there are always exceptions.
THE SCIENTIFIC APPROACH
Let’s say the frame and two mats cost $150. Add on the price of the paper and the cost of the pastels - approximately $25. Then there’s the time spent developing the composition, time spent out in the field, and time spent in the studio finishing the painting. Add these hours up. Let’s say the sum is six hours. At a minimum of $25 per hour, time six, labor then becomes $150.
- frame and mats 150
- paper and pastels 25
- labor 150
Total $ 325
So now you have a total cost of $325, which is okay if you’re only selling wholesale or directly to the public, but if this painting goes into a gallery, the gallery owner.
THE SUBJECTIVE METHOD
At a gallery, you see a painting similar to your own priced at $650 and decide to price your painting, which is the same size and of the same or similar subject matter, somewhere between $350 and $495. You’re not finished with your homework yet. Visit more than one gallery! Check out the various furniture stores and gift shops too. Roam around the outdoor fairs and festivals and compare prices. Once again you have to decide if you are selling the painting at wholesale, directly to the consumer or to a gallery, which will almost always double or in some cases triple the price that they paid you.
THE QUANTITATIVE APPROACH
The public assumes that the larger the size, the higher the price. One of the most popular ways to price work is to multiply the square inches of the painting by a given price point.
To find the square inches (the area of the painting) simply multiply the length of the two sides of the painting. For example, 16x20 equals 320 square inches.
An average price point per square inch is somewhere between $1 and $2. So, at $1 per square inch the painting now sells for $320, while at $2 per square inch, the price is $640. To this price point always add 10% to cover your overhead costs.
THE BRAND-HAS-VALUE METHOD
When you’re just starting out, you have little or name value; therefore, your prices should remain low until you’re selling well and your name has also grown in value. Then on January first of each year, raise your prices by at least 10%.
THREE PRICE POINTS to reach different markets
Remember that the way you price your work is part of an overall marketing strategy. The fundamental truth is this: To be financially successful in the art world it’s vital that you reach as many potential buyers as possible. To that end, consider having three different price points.
1- Middle range price point
The people who buy works in your middle price range are your first
market. For most artists, your everyday work is your middle price range.
These works are good, but probably not your very best. However they are also
not your “bin” works
2 - High-end price point
Every so often, however, you produce that rare piece of work that’s
a masterpiece. It’s of the perfect subject, with appropriate colors; it
has a magnificent light source and more importantly, you knew when to stop.
A masterpiece doesn’t happen along too often, maybe a couple of times
a
year, if you’re lucky.
This masterpiece is the very best you can do. It deserves a higher price point. Price this painting at least four times your normal price, or higher.
3 - Low-end price point
The third market is made up of those folks who can only purchase inexpensive items. There are two ways to go...
- You can take the masterpiece painting and turn it into prints - either a
giclee or an offset print - and price
the low or
- you can create small, but quickly done paintings that are priced under, let’s
say, $50
The advantage of having these three price points is that now you have three distinct and different markets.
For the middle price range, there are galleries, businesses and corporations
For the high-end, think collectors who may also commission work
For the low-end, there are the folks who are just getting into the marketing
place there are open studio sales, gallery bins, home shows, fairs and
festivals.
TIPS FOR SUCCESS - some important do’s and don’ts
• Don’t overlook the different markets.
Do have at least three different prices
• Don’t post different prices in your studio from those in your gallery.
Do keep your prices in your studio the same at those at the gallery.
• Don’t make up your policies as you go along.
Do have a written pricing policy to show your consumers which
includes:
- your return policy
- lay-away terms
- exchange terms (if applicable)
- commission prices
• 1/3 to 1/2 up front and non-refundable
• these matters should be clearly stated in a written
contract.
• Don’t give discount to just anyone
Do give small discounts to family and personal friends only
• Don’t be afraid to add on the extra charges
Do let the consumer pay for
• shipping
• frame or matting changes
• extra insurance, if shipper overseas
• upgraded glass or acrylic protective sheets
• Don’t be afraid of making and selling prints of your best work.
Do use these images for
• cards
• thank-you notes
• small prints
End of article
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