What Every Good Marketer Knows:
* Anticipated, personal and relevant advertising always does better than unsolicited junk.
* Making promises and keeping them is a great way to build a brand.
* Your best customers are worth far more than your average customers.
* Share of wallet is easier, more profitable and ultimately more effective a measure than share of market.
* Marketing begins before the product is created.
* Advertising is just a symptom, a tactic. Marketing is about far more than that.
* Low price is a great way to sell a commodity. That's not marketing, though, that's efficiency.
* Conversations among the members of your marketplace happen whether you like it or not. Good marketing encourages the right sort of conversations.
* Products that are remarkable get talked about.
* Marketing is the way your people answer the phone, the typesetting on your bills and your returns policy.
* You can't fool all the people, not even most of the time. And people, once fooled, talk about the experience.
* If you are marketing from a fairly static annual budget, you're viewing marketing as an expense. Good marketers realize that it is an investment.
* People don't buy what they need. They buy what they want.
* You're not in charge. And your prospects don't care about you.
* What people want is the extra, the emotional bonus they get when they buy something they love.
* Business to business marketing is just marketing to consumers who happen to have a corporation to pay for what they buy.
* Traditional ways of interrupting consumers (TV ads, trade show booths, junk mail) are losing their cost-effectiveness. At the same time, new ways of spreading ideas (blogs, permission-based RSS information, consumer fan clubs) are quickly proving how well they work.
* People all over the world, and of every income level, respond to marketing that promises and delivers basic human wants.
* Good marketers tell a story.
* People are selfish, lazy, uninformed and impatient. Start with that and you'll be pleasantly surprised by what you find.
* Marketing that works is marketing that people choose to notice.
* Effective stories match the world view of the people you are telling the story to.
* Choose your customers. Fire the ones that hurt your ability to deliver the right story to the others.
* A product for everyone rarely reaches much of anyone.
* Living and breathing an authentic story is the best way to survive in an conversation-rich world.
* Marketers are responsible for the side effects their products
cause.
* Reminding the consumer of a story they know and trust is a powerful shortcut.
* Good marketers measure.
* Marketing is not an emergency. It's a planned, thoughtful exercise that started a long time ago and doesn't end until you're done.
* One disappointed customer is worth ten delighted ones.
* In the google world, the best in the world wins more often, and wins more.
* Most marketers create good enough and then quit. Greatest beats good enough every time.
* There are more rich people than ever before, and they demand to be treated differently.
* Organizations that manage to deal directly with their end users have an asset for the future.
* You can game the social media in the short run, but not for long.
* You market when you hire and when you fire. You market when you call tech support and you market every time you send a memo.
* Blogging makes you a better marketer because it teaches you humility in your writing. *Obviously, knowing what to do is very, very different than actually doing it.
This article is reproduced with permission. Copyright 2008 - Seth Godin
This article originally appeared at the following URL: http://sethgodin.typepad.com/seths_blog/2008/05/what-do-you-kno.html<http://sethgodin.typepad.com/seths_blog/2008/05/what-do-you-kno.html>
Tuesday, May 13, 2008
Monday, May 12, 2008
Thursday, May 8, 2008
Fishing At The Point
One of my latest, a 30" x 24" acrylic-on-canvas entitled "Fishing At The Point."
My very latest, a 28" x 22" acrylic-on-canvas entitled "Picture-Perfect Bottom-Turn!"
10 Great Towns For Working Artists
Artists---
Are you looking for a change of scenery, a community filled with artists selling their wares in a quaint main street district, a place where you could affordably live just a few steps away from lively art festivals, cultural attractions and theater? Then there’s good news for you.Dozens of small towns and cities across the country have instituted artist relocation programs to encourage professional artists to move and open businesses. Many offer low-interest loans, grants, reasonably-priced mixed-use properties (meaning you could live, work and open a gallery in the same building), tax benefits, marketing assistance or other incentives specifically tailored for working artists. These places recognize that professional artists are small business owners who can help restore once-thriving communities, sometimes by creating jobs for other locals, sometimes by just adding to the cultural flavor of their revitalization plans and events.Before you pick up your business and family, and head to the land of milk and honey, though, be sure to do your research. It’s likely you’ll still need to market your work outside of your new home to make a living. And cheaper properties are going to need some renovation work, probably more than what will be covered by the financial incentives the communities are offering.Here are some of our favorite places, from communities just starting their programs, to a few that have been flourishing for years and are still seeking newcomers. Many of the Web sites listed below will show you which properties are available for sale. Otherwise, a quick trip to Realtor.com can help you get a better idea of the cost of properties available in a particular community:
Glasstown Arts District, Millville, New Jersey
1. Millville, New JerseyGlasstown Arts District
What makes it special: Designated by the National Trust for Historic Preservation as a Main Street Community in 2004, the Glasstown Arts District has been thriving for more than eight years. With affordable, mixed-use properties featuring period architecture, monthly art walks, a large public art center with gallery and studio spaces, and lots of cultural activities, this river town of 26,000 is an energetic place to call home.What it offers: The town’s annual marketing budget clocks in at just over $300,000, bringing in a lot of tourists. Plus, if you purchase a mixed-use property in the Glasstown Arts District, you can get a facade grant of up to $10,000 (1:1 match) to improve the front of your home. While many Main Street Communities offer such grants for businesses in their districts, it’s the mixed-use designation that makes Millville unique among grant programs.
Web: http://glasstownartsdistrict.com Contact: Marianne Lods, Executive Director, Millville Development Corporation, 1-800-887-4957, Marianne@glasstownartsdistrict.com
Haynie's Corner, Evansville, Indiana
2. Evansville, IndianaHaynie’s CornerWhat makes it special: More than a century old and once a focal point of Evansville, Haynie’s Corner plays host to the largest arts festival in the tri-state area, drawing 5,000 to 6,000 tourists annually. While Evansville is home to more than 120,000 residents, Haynie’s Corner is an artistic treasure in the region. The artist relocation program, which began in 2006, is already attracting writers, artists and musicians. One of the most exciting neighborhood projects today is the restoration of the c. 1913 Alhambra Movie Theater, which will become a mixed-use community center where, in addition to movies, visitors can see plays, musical performances, piano and dance recitals, and more. With an organic foods grocery store, coffee house, award-winning public library, museum and a quiet street filled with trees and mixed-use property featuring Victorian architecture, Haynie’s Corner appeals to contemporary artists looking to live in a place where they can turn back the clock.
What it offers: Evansville is offering what are known as forgivable mortgages, up to $5,000 for exterior renovations of properties, or up to $25,000 subsidy for building a new home in the area. A forgivable mortgage is basically a loan you don’t have to pay back, as long as you stay in the property you buy as a primary residence for a certain number of years, in this case, five. Properties in the neighborhood are affordable, with many in need of TLC between $10,000 and $100,000.
Web: www.hayniescornerartsdistrict.org
Contact: Lana Abel, 812-436-7823 ext. 4, lana@hayniescornerartsdistrict.org
Rising Sun, Indiana
3. Rising Sun, Indiana
What makes it special: Rising Sun wants its artists to succeed, so it hosts a number of art business workshops in the town regularly, including one March 14 through 16 by Art Calendar’s own Contributing Writer Eric Maisel. A naturally beautiful river town with the kind of scenery anyone would want to paint, Rising Sun has been attracting artists and other creative people since the relocation program began six years ago. And with a cozy population of 2,500 and a location less than an hour from big cities like Cincinnati, Ohio, this is the perfect small town with a passion for professional art training, and close connections to great markets.
What it offers: Rising Sun is of the few places offering a monthly artists’ stipend ($100 a month, offered through a juried process).
Web: http://enjoyrisingsun.com
Contact: Sherry Timms, 1-888-776-4786
Berea, Kentucky
4. Berea, Kentucky
What makes it special: Known as The Folk Arts and Crafts Capital of Kentucky,” Berea has a rich folk arts heritage dating all the way back to the 1800s. Founded around a college that admitted African-Americans and women into the school as early as 1855, this forward-thinking community boasts more than 40 craftspersons and gallery owners. From glass blowers, to weavers, to furniture-makers and more, many of whom offer demonstrations or workshops regularly, artists from this Appalachian community attract lots of tourists on a regular basis.
What it offers: In addition to aggressive marketing efforts, Berea also offers a renowned reputation as an art community, a location just off I-75 (one the major north-south routes in the country), and a history of diversity, as well as a future focused on sustainability. Further, students who are accepted to Berea College pay no tuition. Instead, they have work programs, about 10 percent of which involve learning the folk art trades popular in the town. The liberal arts college does not accept top-tier students who would be able to get scholarship and financial aid to attend other colleges, but rather good students who can’t afford to go to another school.
Web: www.berea.com (for the school, www.berea.edu )
Contact: Berea Tourism Center, 800-598-5263, kycraftcap@berea.com
Village of the Arts, Bradenton, Florida
5. Bradenton, FloridaVillage of the ArtsWhat makes it special: Celebrating its seventh birthday, the Village of the Arts, with help of the city, a handful of artists and the Village’s nonprofit organization, the Artists’ Guild of Manatee, set out to create a community where artists of all disciplines could live and work. Forty artists later, the Village is well on its way. With monthly art walks that fill the streets with art lovers, loads of special events, outdoor movie nights, gourmet food and a location just minutes from the beach, this is the Gulf Coast’s largest artist community in one of Florida’s most culturally-rich areas. Attracting a variety of artists, including those middle agers in the midst of career changes to fine arts, this focused arts district is full of burgeoning and established artists who passionately support one another’s careers.
What it offers: The city is providing artists who purchase property in specific areas of the district with up to $10,000 in matching renovation grants (1:1 match). There are also a variety of properties available with designated mixed-use zoning.
Web: www.villageofthearts.com
Contact: 941-747-8056 or villageofthearts@gmail.com . To reach city, e-mail mike.kennedy@cityofbradenton.com .
Chattanooga, Tennessee
6. Chattanooga, Tennessee
What makes it special: Chattanooga invites artists of all disciplines, from graphic artists and interior designers, to sculptors, writers and musicians, to relocate to the “Scenic City,” a place that was flourishing with the arts well before the Arts Move program was instituted just two years ago. The program has already welcomed 25 new artists into permanent residences in Phases I and II, and has just announced a call for Phase III. Featuring internationally recognized artists as well as up-and-comers, Chattanooga has a thriving art scene in a great location, just two hours from Atlanta, Georgia and two hours from Nashville. Add to that mixed-use zoning, industrial property at an affordable price and more than 30 art and culture organizations, including symphonies, museums and theater, and this is one waterfront community where a passionate working artist can really plant his feet.
What it offers: Artists purchasing property in qualifying neighborhoods can receive a $15,000, five-year forgivable mortgage.
Web: http://artsmove.org
Contact: ArtsMove, c/o CreateHere, info@artsmove.org , or 423-648-2195
Paducah, Kentucky
7. Paducah, Kentucky
What makes it special: Think about artist towns, and one of the first ones that cometo mind is Paducah. With more than 50 artists living, working and selling their creations, this small town features a fantastic cost of living, mixed-use properties, lots of art events, a performing arts theater, an art center, a community theater and the charm of the south. It’s not just about the business, but the camraderie of Paducah, with its pot luck dinners, study groups and artsy atmosphere, that makes it a special place to live.
What it offers: Besides a central location and the support of other professional artists, Paducah offers a $2,500 reimbursement for any design or renovation costs involved with the purchase of one of their charming properties, plus 100 percent financing for the purchase and rehabilitation of an existing structure or the building of a new structure. If you’re building, there are even free lots available for new construction.
Web: http://paducaharts.com/
Contact: City of Paducah Planning Department, 270-444-8690, artinfo@ci.paducah.ky.us
8. Clarksville, Missouri
What makes it special: With just 490 residents, this quiet Mississippi-river town features 11 working artists, including furniture- and cabinet-makers, potters, iron workers and glassblowers, many of whom offer demonstrations and workshops to tourists coming in from St. Louis, just 75 miles away. The last Missouri town with a business district right on the Mississippi, Clarksville is almost out of property, as all of the storefronts have filled up with renters, but a few properties are still for sale.
What it offers: Low cost of living, a good tourist market and a generally comfortable, quiet pace of life makes Clarksville a special place for an artist trying to escape from the big city.
Web: www.clarksvillemo.us
Contact: Submit a query online, or call the mayor’s office, 573-242-3336
Pawtucket, Rhode Island
9. City of Pawtucket, Rhode Island
What makes it special: A blue-collar, gritty mill town that needed a way to revitalize itself a decade ago, Pawtucket might just be God’s Mecca for Working Artists. In fact, the city has been so successful in attracting and maintaining artists that it serves as an official model for other communities planning to institute artist relocation programs of their own. Focused on helping artists make a living, city representatives walk new artists through the process of purchasing, permitting and renovating a new property, and they maintain a database of new properties on the market that would be suitable for artists. This includes old mill space (for as little as $6 to $7 per square foot) and commercial properties, suitable for artists’ studios. Plus, the city has an annual fund of $25,000 to fund arts groups, and host and advertise art events. With a local government that supports the artists, a convenient location just off I-95 and hundreds of working artists already established in the city of 72,000, Pawtucket is a great location for an artist who wants a solid career footing.
What it offers: One of nine communities in Rhode Island with state tax exemptions for working artists, Pawtucket certifies eligible artists or galleries who get state tax sales exemptions for original art or limited production works of art sold within the 307-acre arts and entertainment district. The law (Rhode Island General Law 44-30-1.1) also exempts artists in the district from state income tax on income generated from their work. Additionally, the city sometimes offers annual grants of up to $2,000 (more than $10,000 budgeted) for an artist or art organization who creates a piece of work, or organizes an artistic or musical event, that primarily benefits the City of Pawtucket and its residents.
Web: www.pawtucketri.com
Contact: Herb Weiss, Arts and Cultural Activities, 401-728-0500 ext. 437, or hweissri@aol.com , or cell at 401-742-HERB.
Oil City, Pennsylvania
10. Oil City, Pennsylvania
What makes it special: The birthplace of the oil industry and former headquarters of Standard Oil, Quaker State and Pennzoil, this northwestern Pennsylvania town is reinventing itself into a lively, committed arts community. With affordable Victorian homes and mixed-use properties (many under $50,000), theater, music, a branch campus of Clarion University, easy accessibility to art markets from Cleveland to Buffalo, and dozens of artists who have already claimed this small town as home, Oil City is one of the best deals on the market.
What it offers: 100 percent fixed-rate financing up to $150,000 on live-work space (when using First National Bank). This includes rehab costs, and mortgage insurance is waived. $7,500 toward down payment and closing costs on a residence through Venango County Affordable Housing (income guidelines apply). Plus there are opportunities for facade grants and loans, tax abatements for commercial properties and tax breaks for certain properties in the Historic District. Downtown studio space is available at $0.49 per square foot, with the first three months rent free.
Web: www.artsoilcity.com Contact: Arts Oil City, jwheeler@csonline.net or 814-676-5303
Are you looking for a change of scenery, a community filled with artists selling their wares in a quaint main street district, a place where you could affordably live just a few steps away from lively art festivals, cultural attractions and theater? Then there’s good news for you.Dozens of small towns and cities across the country have instituted artist relocation programs to encourage professional artists to move and open businesses. Many offer low-interest loans, grants, reasonably-priced mixed-use properties (meaning you could live, work and open a gallery in the same building), tax benefits, marketing assistance or other incentives specifically tailored for working artists. These places recognize that professional artists are small business owners who can help restore once-thriving communities, sometimes by creating jobs for other locals, sometimes by just adding to the cultural flavor of their revitalization plans and events.Before you pick up your business and family, and head to the land of milk and honey, though, be sure to do your research. It’s likely you’ll still need to market your work outside of your new home to make a living. And cheaper properties are going to need some renovation work, probably more than what will be covered by the financial incentives the communities are offering.Here are some of our favorite places, from communities just starting their programs, to a few that have been flourishing for years and are still seeking newcomers. Many of the Web sites listed below will show you which properties are available for sale. Otherwise, a quick trip to Realtor.com can help you get a better idea of the cost of properties available in a particular community:
Glasstown Arts District, Millville, New Jersey
1. Millville, New JerseyGlasstown Arts District
What makes it special: Designated by the National Trust for Historic Preservation as a Main Street Community in 2004, the Glasstown Arts District has been thriving for more than eight years. With affordable, mixed-use properties featuring period architecture, monthly art walks, a large public art center with gallery and studio spaces, and lots of cultural activities, this river town of 26,000 is an energetic place to call home.What it offers: The town’s annual marketing budget clocks in at just over $300,000, bringing in a lot of tourists. Plus, if you purchase a mixed-use property in the Glasstown Arts District, you can get a facade grant of up to $10,000 (1:1 match) to improve the front of your home. While many Main Street Communities offer such grants for businesses in their districts, it’s the mixed-use designation that makes Millville unique among grant programs.
Web: http://glasstownartsdistrict.com Contact: Marianne Lods, Executive Director, Millville Development Corporation, 1-800-887-4957, Marianne@glasstownartsdistrict.com
Haynie's Corner, Evansville, Indiana
2. Evansville, IndianaHaynie’s CornerWhat makes it special: More than a century old and once a focal point of Evansville, Haynie’s Corner plays host to the largest arts festival in the tri-state area, drawing 5,000 to 6,000 tourists annually. While Evansville is home to more than 120,000 residents, Haynie’s Corner is an artistic treasure in the region. The artist relocation program, which began in 2006, is already attracting writers, artists and musicians. One of the most exciting neighborhood projects today is the restoration of the c. 1913 Alhambra Movie Theater, which will become a mixed-use community center where, in addition to movies, visitors can see plays, musical performances, piano and dance recitals, and more. With an organic foods grocery store, coffee house, award-winning public library, museum and a quiet street filled with trees and mixed-use property featuring Victorian architecture, Haynie’s Corner appeals to contemporary artists looking to live in a place where they can turn back the clock.
What it offers: Evansville is offering what are known as forgivable mortgages, up to $5,000 for exterior renovations of properties, or up to $25,000 subsidy for building a new home in the area. A forgivable mortgage is basically a loan you don’t have to pay back, as long as you stay in the property you buy as a primary residence for a certain number of years, in this case, five. Properties in the neighborhood are affordable, with many in need of TLC between $10,000 and $100,000.
Web: www.hayniescornerartsdistrict.org
Contact: Lana Abel, 812-436-7823 ext. 4, lana@hayniescornerartsdistrict.org
Rising Sun, Indiana
3. Rising Sun, Indiana
What makes it special: Rising Sun wants its artists to succeed, so it hosts a number of art business workshops in the town regularly, including one March 14 through 16 by Art Calendar’s own Contributing Writer Eric Maisel. A naturally beautiful river town with the kind of scenery anyone would want to paint, Rising Sun has been attracting artists and other creative people since the relocation program began six years ago. And with a cozy population of 2,500 and a location less than an hour from big cities like Cincinnati, Ohio, this is the perfect small town with a passion for professional art training, and close connections to great markets.
What it offers: Rising Sun is of the few places offering a monthly artists’ stipend ($100 a month, offered through a juried process).
Web: http://enjoyrisingsun.com
Contact: Sherry Timms, 1-888-776-4786
Berea, Kentucky
4. Berea, Kentucky
What makes it special: Known as The Folk Arts and Crafts Capital of Kentucky,” Berea has a rich folk arts heritage dating all the way back to the 1800s. Founded around a college that admitted African-Americans and women into the school as early as 1855, this forward-thinking community boasts more than 40 craftspersons and gallery owners. From glass blowers, to weavers, to furniture-makers and more, many of whom offer demonstrations or workshops regularly, artists from this Appalachian community attract lots of tourists on a regular basis.
What it offers: In addition to aggressive marketing efforts, Berea also offers a renowned reputation as an art community, a location just off I-75 (one the major north-south routes in the country), and a history of diversity, as well as a future focused on sustainability. Further, students who are accepted to Berea College pay no tuition. Instead, they have work programs, about 10 percent of which involve learning the folk art trades popular in the town. The liberal arts college does not accept top-tier students who would be able to get scholarship and financial aid to attend other colleges, but rather good students who can’t afford to go to another school.
Web: www.berea.com (for the school, www.berea.edu )
Contact: Berea Tourism Center, 800-598-5263, kycraftcap@berea.com
Village of the Arts, Bradenton, Florida
5. Bradenton, FloridaVillage of the ArtsWhat makes it special: Celebrating its seventh birthday, the Village of the Arts, with help of the city, a handful of artists and the Village’s nonprofit organization, the Artists’ Guild of Manatee, set out to create a community where artists of all disciplines could live and work. Forty artists later, the Village is well on its way. With monthly art walks that fill the streets with art lovers, loads of special events, outdoor movie nights, gourmet food and a location just minutes from the beach, this is the Gulf Coast’s largest artist community in one of Florida’s most culturally-rich areas. Attracting a variety of artists, including those middle agers in the midst of career changes to fine arts, this focused arts district is full of burgeoning and established artists who passionately support one another’s careers.
What it offers: The city is providing artists who purchase property in specific areas of the district with up to $10,000 in matching renovation grants (1:1 match). There are also a variety of properties available with designated mixed-use zoning.
Web: www.villageofthearts.com
Contact: 941-747-8056 or villageofthearts@gmail.com . To reach city, e-mail mike.kennedy@cityofbradenton.com .
Chattanooga, Tennessee
6. Chattanooga, Tennessee
What makes it special: Chattanooga invites artists of all disciplines, from graphic artists and interior designers, to sculptors, writers and musicians, to relocate to the “Scenic City,” a place that was flourishing with the arts well before the Arts Move program was instituted just two years ago. The program has already welcomed 25 new artists into permanent residences in Phases I and II, and has just announced a call for Phase III. Featuring internationally recognized artists as well as up-and-comers, Chattanooga has a thriving art scene in a great location, just two hours from Atlanta, Georgia and two hours from Nashville. Add to that mixed-use zoning, industrial property at an affordable price and more than 30 art and culture organizations, including symphonies, museums and theater, and this is one waterfront community where a passionate working artist can really plant his feet.
What it offers: Artists purchasing property in qualifying neighborhoods can receive a $15,000, five-year forgivable mortgage.
Web: http://artsmove.org
Contact: ArtsMove, c/o CreateHere, info@artsmove.org , or 423-648-2195
Paducah, Kentucky
7. Paducah, Kentucky
What makes it special: Think about artist towns, and one of the first ones that cometo mind is Paducah. With more than 50 artists living, working and selling their creations, this small town features a fantastic cost of living, mixed-use properties, lots of art events, a performing arts theater, an art center, a community theater and the charm of the south. It’s not just about the business, but the camraderie of Paducah, with its pot luck dinners, study groups and artsy atmosphere, that makes it a special place to live.
What it offers: Besides a central location and the support of other professional artists, Paducah offers a $2,500 reimbursement for any design or renovation costs involved with the purchase of one of their charming properties, plus 100 percent financing for the purchase and rehabilitation of an existing structure or the building of a new structure. If you’re building, there are even free lots available for new construction.
Web: http://paducaharts.com/
Contact: City of Paducah Planning Department, 270-444-8690, artinfo@ci.paducah.ky.us
8. Clarksville, Missouri
What makes it special: With just 490 residents, this quiet Mississippi-river town features 11 working artists, including furniture- and cabinet-makers, potters, iron workers and glassblowers, many of whom offer demonstrations and workshops to tourists coming in from St. Louis, just 75 miles away. The last Missouri town with a business district right on the Mississippi, Clarksville is almost out of property, as all of the storefronts have filled up with renters, but a few properties are still for sale.
What it offers: Low cost of living, a good tourist market and a generally comfortable, quiet pace of life makes Clarksville a special place for an artist trying to escape from the big city.
Web: www.clarksvillemo.us
Contact: Submit a query online, or call the mayor’s office, 573-242-3336
Pawtucket, Rhode Island
9. City of Pawtucket, Rhode Island
What makes it special: A blue-collar, gritty mill town that needed a way to revitalize itself a decade ago, Pawtucket might just be God’s Mecca for Working Artists. In fact, the city has been so successful in attracting and maintaining artists that it serves as an official model for other communities planning to institute artist relocation programs of their own. Focused on helping artists make a living, city representatives walk new artists through the process of purchasing, permitting and renovating a new property, and they maintain a database of new properties on the market that would be suitable for artists. This includes old mill space (for as little as $6 to $7 per square foot) and commercial properties, suitable for artists’ studios. Plus, the city has an annual fund of $25,000 to fund arts groups, and host and advertise art events. With a local government that supports the artists, a convenient location just off I-95 and hundreds of working artists already established in the city of 72,000, Pawtucket is a great location for an artist who wants a solid career footing.
What it offers: One of nine communities in Rhode Island with state tax exemptions for working artists, Pawtucket certifies eligible artists or galleries who get state tax sales exemptions for original art or limited production works of art sold within the 307-acre arts and entertainment district. The law (Rhode Island General Law 44-30-1.1) also exempts artists in the district from state income tax on income generated from their work. Additionally, the city sometimes offers annual grants of up to $2,000 (more than $10,000 budgeted) for an artist or art organization who creates a piece of work, or organizes an artistic or musical event, that primarily benefits the City of Pawtucket and its residents.
Web: www.pawtucketri.com
Contact: Herb Weiss, Arts and Cultural Activities, 401-728-0500 ext. 437, or hweissri@aol.com , or cell at 401-742-HERB.
Oil City, Pennsylvania
10. Oil City, Pennsylvania
What makes it special: The birthplace of the oil industry and former headquarters of Standard Oil, Quaker State and Pennzoil, this northwestern Pennsylvania town is reinventing itself into a lively, committed arts community. With affordable Victorian homes and mixed-use properties (many under $50,000), theater, music, a branch campus of Clarion University, easy accessibility to art markets from Cleveland to Buffalo, and dozens of artists who have already claimed this small town as home, Oil City is one of the best deals on the market.
What it offers: 100 percent fixed-rate financing up to $150,000 on live-work space (when using First National Bank). This includes rehab costs, and mortgage insurance is waived. $7,500 toward down payment and closing costs on a residence through Venango County Affordable Housing (income guidelines apply). Plus there are opportunities for facade grants and loans, tax abatements for commercial properties and tax breaks for certain properties in the Historic District. Downtown studio space is available at $0.49 per square foot, with the first three months rent free.
Web: www.artsoilcity.com Contact: Arts Oil City, jwheeler@csonline.net or 814-676-5303
Sunday, March 30, 2008
Monday, March 24, 2008
Monday, March 3, 2008
How to drive more customers to your website.
Here are a few strategies for increasing traffic to your web site and for encouraging people to sign up for your email newsletter an importantgoal, as we've discussed in the past in "The Real Goal of Your Web Site.<http://www.clintwatson.net/dataviewer.asp?page=Blog&keyvalue=126&subkeyvalue=829> "In addition to the personal, ongoing strategies we discussed in Focusthe Lens - Marketing Email Campaign<http://www.clintwatson.net/dataviewer.asp?page=Blog&keyvalue=126&subkeyvalue=676> , here are some more strategies:
1. Give away a "freebie" in exchange for vistors' email addresses. Perhaps a free e-calendar featuring your artwork. A free report that you've written about your artwork technique for other artists.
2. Get other people to drive traffic to your site. This is called "affiliate marketing" in the non-art world. It could besimply exchanging links, but more specifically, you want other siteowners to promote your site to THEIR customers via email. (See Whatabout Promoting Other Artists Works<http://www.clintwatson.net/dataviewer.asp?page=Blog&keyvalue=126&subkeyvalue=772> ?). You might consider offering other site owners apercentage of the sales to their customers (after all you would have topay a gallery).
3. Start and Use a Blog.Blogs help build traffic and content over time. Once those people getto your blog, make it easy for them to sign up for your emailnewsletter.
4. Partner with people who reach customers you want.Perhaps a wine dealer would like to offer his clients art andinformation about art and perhaps you would like to offer your clientssome fine wine (and make a percentage of the sales).
5. Create an ebook.Ebooks are great, if you can write one, because they can get passedaround and they can contain links back to your site. You can also usethem as "freebies" to encourage people to sign up for your list asdiscussed in number 1.
6. Offline MarketingPress releases can help get you media coverage, be sure to think aboutsnail mail promotions to your customers periodically. They are moreexpensive but more "special." A campaign to send personal notes to yourcustomers would also make them feel special.
7. Submit content-rich articles to article directories.
8. Visit art-related online forums. When you have something relevant to say, say it. Include a link to yourweb site in your signature. Don't go crazy and do this daily, but do itperiodically.
9. Sign up for Robert Genn's NewsletterRobert Genn has a twice-weekly newsletter called "The Painters Keys."Besides finding it interesting, reply when a subject touches your heartand he may feature your reply with a link to your website. If so,you'll reach a lot of other artists, but you'll also reach artists andother people who buy art (hey, I read it).These are just a few additional strategies.
This article is reproduced with permission. Copyright 2007-2008 - Clint Watson.
This Article First Appeared at the Following Location:http://www.clintwatson.net/blog/834
1. Give away a "freebie" in exchange for vistors' email addresses. Perhaps a free e-calendar featuring your artwork. A free report that you've written about your artwork technique for other artists.
2. Get other people to drive traffic to your site. This is called "affiliate marketing" in the non-art world. It could besimply exchanging links, but more specifically, you want other siteowners to promote your site to THEIR customers via email. (See Whatabout Promoting Other Artists Works<http://www.clintwatson.net/dataviewer.asp?page=Blog&keyvalue=126&subkeyvalue=772> ?). You might consider offering other site owners apercentage of the sales to their customers (after all you would have topay a gallery).
3. Start and Use a Blog.Blogs help build traffic and content over time. Once those people getto your blog, make it easy for them to sign up for your emailnewsletter.
4. Partner with people who reach customers you want.Perhaps a wine dealer would like to offer his clients art andinformation about art and perhaps you would like to offer your clientssome fine wine (and make a percentage of the sales).
5. Create an ebook.Ebooks are great, if you can write one, because they can get passedaround and they can contain links back to your site. You can also usethem as "freebies" to encourage people to sign up for your list asdiscussed in number 1.
6. Offline MarketingPress releases can help get you media coverage, be sure to think aboutsnail mail promotions to your customers periodically. They are moreexpensive but more "special." A campaign to send personal notes to yourcustomers would also make them feel special.
7. Submit content-rich articles to article directories.
8. Visit art-related online forums. When you have something relevant to say, say it. Include a link to yourweb site in your signature. Don't go crazy and do this daily, but do itperiodically.
9. Sign up for Robert Genn's NewsletterRobert Genn has a twice-weekly newsletter called "The Painters Keys."Besides finding it interesting, reply when a subject touches your heartand he may feature your reply with a link to your website. If so,you'll reach a lot of other artists, but you'll also reach artists andother people who buy art (hey, I read it).These are just a few additional strategies.
This article is reproduced with permission. Copyright 2007-2008 - Clint Watson.
This Article First Appeared at the Following Location:http://www.clintwatson.net/blog/834
Saturday, March 1, 2008
Pelican's Roost
Greetings art lovers!! This is a 24" x 48" acrylic-on-canvas I just finished(March 1st,2008). It's unframed and a 1 1/2" gallery-wrap with the image extending around the edge. I'm adding this to my ocean-related series I'm preparing for the "Art And Surf Expo" Memorial Day weekend, May 25th & 26th, at the boardwalk in Va.Bch., Va.
Monday, February 25, 2008
The Longboarder
This is another of my surf series, a 24" x 24" acrylic-on-canvas 1 1/2" gallery-wrapped with the image extending around the edges painting entitled, "The Longboarder".
Saturday, February 23, 2008
Thursday, February 21, 2008
12 Mistakes to avoid in creating an artist website.
DO NOT DO THE FOLLOWING THINGS ON YOUR ARTIST WEBSITE:
1. Right Click disablers! People aren't trying to steal your web-quality images, but you're really annoying the rest of us who use the right-click for all kinds of options, including navigating websites. (By the way, people can get your images even if you have a right-click disabler....so why have it?)
2. Music! This isn't a gallery opening. Please don't make me listen to the music you like. If I want to visit your site while listening to heavymetal....let me.
3. Resizing the Browser Window! Do not resize my browser window. I use a tabbed browser that fills my whole screen and keep several tabs open simultaneously. If you resize my browser window, it messes everything up and I will leave and never ever purchase your artwork.
4. Flash! Oh please, please, please don't use flash, Don't make me wait for stuff to load. Plus having to use flash's annoying little scroll bars to read text is really, really annoying when we have a technology that worksgreat for text called html. Also, flash really sucks on a mobile device.
5. Excessive Javascript! This is a similar mistake to flash - don't make things animate, jump around. Don't override regular html links and make them javascript links. Just keep it simple and let your artwork shine. (It's OK to usea little bit of javascript for statistics trackers and the like).
6. Out of date informationPlease don't make me read about the exhibits you had in 2002 on a"current exhibits" page. I'll just wonder if you've done anything since then. Make sure your information is current please.
7. Blurry images! If I'm actually going to purchase your artwork, it would be nice to know what it actually looks like.
8. Broken Links! If links don't work, then why have them? I don't have all day to figure out where you meant for your links to point.
9. Huge High-resolution images for backgrounds! In fact, don't use anything except a color for the background. Why do you want to clutter up the page? You wouldn't hang one of your artworks on top of another one of your artworks in real life.....so don't do it online!
10. Hard to Find Navigation Links! Please, just use plain text html navigation links. I'm not impressed that you can make your links look "shiny."
11. No Prices!! Don't make me guess how much to pay you.
12. Unreadable Text! Please make your text large, and with enough contrast to easily read.
This article is reproduced with permission. Copyright 2008 - Clint Watson.
This Article First Appeared at the Following Location:http://www.clintwatson.net/blog/2773<http://www.clintwatson.net/blog/2773>
1. Right Click disablers! People aren't trying to steal your web-quality images, but you're really annoying the rest of us who use the right-click for all kinds of options, including navigating websites. (By the way, people can get your images even if you have a right-click disabler....so why have it?)
2. Music! This isn't a gallery opening. Please don't make me listen to the music you like. If I want to visit your site while listening to heavymetal....let me.
3. Resizing the Browser Window! Do not resize my browser window. I use a tabbed browser that fills my whole screen and keep several tabs open simultaneously. If you resize my browser window, it messes everything up and I will leave and never ever purchase your artwork.
4. Flash! Oh please, please, please don't use flash, Don't make me wait for stuff to load. Plus having to use flash's annoying little scroll bars to read text is really, really annoying when we have a technology that worksgreat for text called html. Also, flash really sucks on a mobile device.
5. Excessive Javascript! This is a similar mistake to flash - don't make things animate, jump around. Don't override regular html links and make them javascript links. Just keep it simple and let your artwork shine. (It's OK to usea little bit of javascript for statistics trackers and the like).
6. Out of date informationPlease don't make me read about the exhibits you had in 2002 on a"current exhibits" page. I'll just wonder if you've done anything since then. Make sure your information is current please.
7. Blurry images! If I'm actually going to purchase your artwork, it would be nice to know what it actually looks like.
8. Broken Links! If links don't work, then why have them? I don't have all day to figure out where you meant for your links to point.
9. Huge High-resolution images for backgrounds! In fact, don't use anything except a color for the background. Why do you want to clutter up the page? You wouldn't hang one of your artworks on top of another one of your artworks in real life.....so don't do it online!
10. Hard to Find Navigation Links! Please, just use plain text html navigation links. I'm not impressed that you can make your links look "shiny."
11. No Prices!! Don't make me guess how much to pay you.
12. Unreadable Text! Please make your text large, and with enough contrast to easily read.
This article is reproduced with permission. Copyright 2008 - Clint Watson.
This Article First Appeared at the Following Location:http://www.clintwatson.net/blog/2773<http://www.clintwatson.net/blog/2773>
Surf And Art Expo-2008
For all you art and surf lovers out there, there will be a combination surf contest and art show Memorial Day weekend from 1st St. - 5th St. on the boardwalk at Virginia Beach, Va. The artist's will exhibit works in various mediums with the ocean, surfing , waterscenes, shells, anything to do with the beach as the theme. Personnally, I will be exhibiting Acrylic Paintings and Conch-shell Candles with their own home-made custom stands!
So come on out and join the fun, see some excellent art, and maybe some cool surfing!
Friday, February 15, 2008
Ther Path To An Artist's Goal
Let's say the goal at the end of your path is to have a solo exhibition at the art museum in your city or town. Here are some baby steps that will help you make progress.
--Learn all about the museum, its exhibitions, and it's collections. Verify that it's an appropriate venue for you.
--Meet key staff and board members at the museum.
--Become a member of the museum.
--Gain representation from high-end gallery that museum curators frequent. Then you look at that last item and it seems overwhelming. You need to break it down!
--Put suitable gallery dealers on mailing list.
--Attend gallery openings.
--Meet artists whose work is in galleries.
--Invite above artists to your studio and exhibits. (Add them to your mailing list.)
--Meet the dealers in charge of the space.
--Show at increasingly prestigious venues.
--Meet people who blog and write about work in your town.
--Get mentioned in blogs, magazines, and newspapers.
Looking at these lists can also cause you anxiety because you see everything in one place--everything you need or want to do. And some of these items are projects that need to be broken down even further. So, look at the list once a week. Focus on one thing at a time: one day, week, or month at a time. Be more structured: "In February, I'll attend two gallery openings, meet three new artists at those openings, and join the museum. "There you have it. Progress! There's another example of breaking down a big project on the Art BizBlog.http://www.artbizblog.com <http://www.artbizblog.com/> _____ Know This . . .Baby steps = Progress. Think About This . . . Only you can understand your vision and the steps you take. Saying "I should be doing this" or "I need to be doing that" isn't good enough. You have to want it from your core. You have to be passionate about it. Do This . . . Take baby steps on your path to success. Don't let overwhelm paralyze you.
--Learn all about the museum, its exhibitions, and it's collections. Verify that it's an appropriate venue for you.
--Meet key staff and board members at the museum.
--Become a member of the museum.
--Gain representation from high-end gallery that museum curators frequent. Then you look at that last item and it seems overwhelming. You need to break it down!
--Put suitable gallery dealers on mailing list.
--Attend gallery openings.
--Meet artists whose work is in galleries.
--Invite above artists to your studio and exhibits. (Add them to your mailing list.)
--Meet the dealers in charge of the space.
--Show at increasingly prestigious venues.
--Meet people who blog and write about work in your town.
--Get mentioned in blogs, magazines, and newspapers.
Looking at these lists can also cause you anxiety because you see everything in one place--everything you need or want to do. And some of these items are projects that need to be broken down even further. So, look at the list once a week. Focus on one thing at a time: one day, week, or month at a time. Be more structured: "In February, I'll attend two gallery openings, meet three new artists at those openings, and join the museum. "There you have it. Progress! There's another example of breaking down a big project on the Art BizBlog.http://www.artbizblog.com <http://www.artbizblog.com/> _____ Know This . . .Baby steps = Progress. Think About This . . . Only you can understand your vision and the steps you take. Saying "I should be doing this" or "I need to be doing that" isn't good enough. You have to want it from your core. You have to be passionate about it. Do This . . . Take baby steps on your path to success. Don't let overwhelm paralyze you.
Tuesday, February 12, 2008
Ten Tips for Art Show Success
A helpful guide for
surviving and succeeding in the
art show world.
Tip #1:
Use a notebook.
Yup - a brand new, very cool big fat three-ring binder from your favorite office supply store.
And dividers. And a good three hole punch. This is going to be your best friend for the next
show season. Here’s how to use it:
Set up one divider for each show. This is where you will insert a Show Evaluation using the
form we’ve developed. Or make up one of your own. The idea is to collect results from each
show so you will learn what sells, who buys, and what to keep doing...or what to change.
You are becoming your own market research analyst, which will help you see what trends
are leading to more sales. And that means success for you!
You’re also going to have a section for resources and you’ll have lots of extra paper for
adding information you collect along the way. By journaling your show experiences, you’ll
rapidly become wiser and you’ll learn from your experiences.
You are going to be so organized, you’ll have a record
of every collector, every sale, and every follow-up
action you’ve taken.
And you’ll know what to do to achieve success
season after season, show after show.
By having everything in one place, you’ll see how
easy it is to be organized and stay organized
to maximize your efforts.
Copyright 2004 Fine Print Imaging www.fineprintimaging.com 800.777.1141
Tip #2:
Know the Show
Do the research. Read, ask, listen. Take notes (and put them in your notebook).
Do you shoot the Tetons in all seasons? They may not fly out of your booth in Florida like
they did in Jackson. Do you paint bold contemporary abstracts? The crowd at the mostlycraft
art show in rural Pennsylvania just might pass you by where traffic would screech to
a stop in Chicago.
Your research will tell you if your art is a good match with the buying public. Visit as
many of your targeted shows as you can and watch other artists. Check out the crowd and
make careful notes about the type of purchases people make. You will soon discover which
shows attract the type of collector who will love - and buy - your work.
Go online and chat with other artists and photographers about their experiences. See the list
we’ve collected in Tip #8.
And a few tips about preparing your slides to submit for jurying:
1. Clear, sharply focused slides are critical.
2. Represent a cohesive body of work, by form, technique or concept in the required slides.
3. Show the work fully.
4. Do not show the frames in the case of flat art.
5. One piece of work per slide.
6. Bold color projects better than pastels, white, grays or blacks.
7. Well-lit, even exposure in all slides is crucial.
8. If you work in 3D, consider indicating scale in one of your slides by including an object
such as an eggor coin if rules permit.
9. Mask empty space in the slide with silver photo masking tape. Or ask the lab processing
your slides do it for you for a cleaner presentation.
10. Don’t let the background overpower or detract from your work.
Many shows require a slide of your booth along with your work. This is an extremely
important image, as jurors are looking for a booth scheme which fits well with other juried
artists. Take care that the shot of your booth is done well: consider having it professionally
shot to ensure quality. Your work may be great but if the booth won’t go with the flow, it
may work against you.
Copyright 2004 Fine Print Imaging www.fineprintimaging.com 800.777.1141
Tip #3:
Evaluate Each Show
Take time after each show to relax, reflect and review. Here’s what you want to learn:
Your dollar volume before expenses and after booth fees, travel, hotel, food and anything else
you can think of.
What sold?
Subject matter (Florals? Landscapes? Horizontals? Verticals?)
Framed or just matted?
More originals or more reproductions (if allowed)
Who bought...and why? Men or women? Younger or older? Was the purchase
for a gift or for him or herself? And for what room in the home or office?
Weather and its effect on attendance and purchasing patterns.
Crowd description and observations about what people were buying.
Your booth layout and location: did either have an impact on sales?
Competition: did you observe a lot of the same type of work? Was price between competitors
a concern?
Your goal after evaluating a show: Learn who buys your work and what they plan on
doing with their new acquisition. Become a profiler and use that to your advantage to
find shows and events which draw a similar crowd.
Copyright 2004 Fine Print Imaging www.fineprintimaging.com 800.777.1141
Tip #4:
Develop a Mailing
List
In your hometown, start by collecting names, addresses and email addresses of friends,
business associates, neighbors, your accountant, insurance agent, dentist, school staff, and
influlential community members.
Computer literate? Enter information into a database or software program that will help you
grow. Not computer savvy? Use simple 3” x 5” cards, alphabetized, saved carefully in a box.
Always keep track of what you sent each contact person: a thank you note, postcard of
upcoming shows, and special events. Make sure you enter what that person purchased or, if
they ended up not purchasing, what they were interested in.
In your booth, have a nice address book with a pen tethered to it and ask visitors to add their
contact information. Sweeten the deal and have a drawing for end-of-show gift for the
lucky person whose name you draw. Immediately after the show, enter all this new
information into your database along with any notes to help you remember these folks.
Now...use this data to send out postcards of new work, show schedules as they become
available, special events like one man/woman shows, new galleries and new retail locations.
Mail holiday cards which showcase your work.
Your goal is to contact the people on your list a minimum of four times per year.
No kidding! The really works and if you’re organized, you can do it and reap the rewards.
To reinforce and expand on what we are recommending, attached is an article from The
Artist’s Magazine which is reproduced with the publisher’s permission.
We’re also enclosing a trial copy of “The Working Artist” software for Windows to show you
how a software program can make your life easier quickly and effortlessly.
Copyright 2004 Fine Print Imaging www.fineprintimaging.com 800.777.1141
Tip #5:
The Booth
Here’s where all your hard work pays off. Your creativity shines in a great booth which
draws visitors in to see more and meet you.
We recommend one big, bold signature piece to capture the crowd’s attention. Choose an
image with the “gasp factor” - the one that makes people stop in their tracks and walk up to
admire your collection. Your friendly presence at the entrance of your booth is equally
important. Please...don’t hide from your public. Be active in your booth: talk with visitors,
move around, dust and adjust your work. Create energy by your movement, which draws
people in. And for goodness sake, make eye contact and smile!
Use lighting if it’s available. Have a table ready with that all-important address book.
Bring an Art Show Survival Kit, a large snap-shut plastic box filled with Hand
wipes.....Glass cleaner.....Paper towels.....Sunscreen.....Hard candy.....Breathstrips, breath
mints, gum...Mini Band-aids.....Mini hand lotion.....Eye drops.....Energy bars.....Excedrin
(melting kind)...Lens cleaner for glasses.....Mini fan and batteries.....Mini Kleenex.....Pens
and pencils...Scotch tape.....Duct tape.....Small notebook......Mini stapler..... Poncho.....
Purell.....Double stick mounting tape.....Water bottle.....Camera for photographing your
booth.....Reading material.
Here’s your must-have checklist:
Your professional booth, cleaned and ready.....Business cards and promotional flyers.....
Calculator.....Change.....Price tags and signs.....Receipt books.....Credit card machine and
slips.....Clear bags for sold items (so show-goers can see your work while your buyer walks
around).....Display items (hooks, cups, etc.).....Racks for prints and cards if allowed.....
Booth sign.....Table and tall director’s chair.....and a nicely packaged collection of your work
ready for sale.
More keys to good sales: Dress comfortably yet professionally. Everything must be kept
clean and neat: bins, mats, sleeves, panels, clothing, tent. Keep it simple: don’t clutter the
booth with too many sizes, different colored mats and different frames. Create a gallery
atmosphere and design. Quality counts: don’t use bed sheets, cardboard boxes, handlettered
signs (unless you’re good!) or anything else that says you are new or low on cash. Reflect
the image of an established professional, even if you’re not. Clearly display your prices:
people hate to ask.
Copyright 2004 Fine Print Imaging www.fineprintimaging.com 800.777.1141
Tip #6:
Follow-Up
We know the post-show-onto-the-next-one syndrome. But your follow-up is so critical to
building your success it cannot be dismissed. This activity makes the difference between a
one-time sale and cultivating a collector.
Write (not email, please) a thank you note to each person who purchased from you. Write
anyone who expresses an interest in your art or who talks to you about possible
commissions. Write anyone who provides leads to people who might be interested in your
work. Write a thank you note to anyone and everyone who helped you along the way: the
show organizer, the artist next to you who loaned you her handcart, the show’s volunteer
coordinator, even the sponsors.
The power of the handwritten thank you note makes you stand apart. Yes, it’s a lot of
work...better get busy!
Finally, organize your stuff. Clean things that need to be cleaned. Update your notebook
while memory is fresh. Add names to your database. Check inventory. Replace items in
your SUrvival Kit. Make notes on your review form and make an honest evaluation: what
worked? What didn’t? And what could you do to make the next one better?
Copyright 2004 Fine Print Imaging www.fineprintimaging.com 800.777.1141
Tip #7:
Read!
Education is power. We recommend the following:
ArtMarketing 101 by Constance Smith
This book covers is all and is the textbook to have. Many bookstores carry it, order at
Amazon.com, or contact the author directly: 800.383.0677 or
www.artmarketing.com/books In addition, Constance has many other resources
about licensing, business management, internet marketing and more.
Sunshine Artist magazine
Subscribe here: http://www.sunshineartist.com/ Or call 1-800-804-4607.
This is by far and away the most comprehensive publication for artists on the art
show circuit. The website has an excellent archive of articles discussing equipment,
the law, safety, insurance issues, and much more. Their compilation of the 200 Best
is an important issue to read carefully.
Art Fair Sourcebook by Greg Lawler
Comprehensive listings and rankings of the top 600 shows nationwide.
Test drive the book and sUbscribe here: http://www.artfairsource.com/ or call
1-800-358-2045 for more information.
Décor magazine and Art Business News
Discover trends regarding images, color and wall décor are revealed in these widelyread
trade publications. Call Art Business News toll free at 1-888-527-7008; Décor
at 1-888-772-8926.
These by no means are a definitive list of every book and publication devoted to the selling
of art. We like them because of their specific niches and accurate, trustworty information.
Let us know what you have discovered...and visit our website for more.
Copyright 2004 Fine Print Imaging www.fineprintimaging.com 800.777.1141
Tip #8:
The Web
Do you need a website? We recommend that if you have the resources, a website is a good
backup for your show-goers. If you can keep it fresh, current, visually elegant and
professional in appearance, by all means yes! Your website is an excellent back-up for show
goers who looked at your work but didn’t purchase and went home wishing they had.
Residual sales may come from it...but don’t depend solely on the web for building your
collectors. People like to meet the artist and that’s why you’re doing your shows.
Some of our favorite websites include...
http://www.artbizcoach.com Alyson Stanfield has a terrific online program for
building your business. Subscribe to her free weekly
newsletter for upbeat tips for jump-starting your day.
http://www.wetcanvas.com/ Wet Canvas is billed as ‘cyber living for artists’ and
you’ll find a wealth of resources, discussion groups
and networking online.
http://groups.yahoo.com/group/digital-fineart/ Here’s a discussion group for artists
and photographers immersed (or beginning) in the
world of digital creativity and technology.
http://groups.yahoo.com/group/artshow_photo/ This terrific online group was created
by and for photographers who do art shows and is
packed with great tips and ideas. Even through
it is specifically for photographers, artists will learn
just as much about equipment recommendations and
ideas. A must-visit.
http://ArtShowPhoto.com larry Berman and Chris Maher had put together a
terrific website packed with articles, resources and
tutorials for success. Read the articles...some of the
best.
Copyright 2004 Fine Print Imaging www.fineprintimaging.com 800.777.1141
Tip #9:
Collect Resources
More research, but you are the one to gain. Ask your colleagues on the show circuit: it’s a
great network of great people who are eager to share.
Some of our favorite and recommended
resources include...
Art Marketing Consultants:
ArtBizCoach
Alyson Stanfield
720.570.3949
www.artbizcoach.com
alyson@artbizcoach.com
ArtNetwork
Constance Smith
800.383.0677
www.artmarketing.com
info@artmarketing.com
ArtScope
Kathy Vogler
vogkat@bright.net
Gorman Art Matters
Geoffrey Gorman
705.989.4186
www.artistcareertraining.com
ggarts@aol.com
Copyright 2004 Fine Print Imaging www.fineprintimaging.com 800.777.1141
Boxes and Shipping Materials
THARCO
800.525.1831
ULINE
800.295.5510
Calumet Carton Company
708.333.6521
www.calumet carton.com
Colorado Container
303.331.0400
Airfloat Systems
800.445.2550
www.airfloatsys.com
Clear Plastic Bags
Impact Images
Central and East Time Zones: 800.328.1847
Pacific and Mountain: 800.233.2630
Copyright Questions
US Copyright Office
202.707.3000: Information, no legal advice
202.707.9100: Hotline to request forms
Volunteer Lawyers for the Arts
212.319.2910
Tip #10:
Sales is Not a Four-Letter Word
You are an artist, a photographer, a creator of visual images designed to enlighten, enhance,
enjoy. But to become successful in the business of art, you’ve got to master a few techniques
of (don’t gasp now…) sales.
There. We said it. Sales. Sales of your work make money. Granted, we can all be esoteric
dreamers, but if you’re at a show or in a gallery, you’re there to sell. This next marketing
installment will give you a few tips and techniques for selling your work without sounding
like a used car salesman.
You have nothing to lose and everything to gain.
If a visitor enters your booth, she is truly interested in your art – and you. That prospective
buyer has seen something that stopped her from wandering down the row and enticed her to
come into your space to see more. This is your opportunity to shine.
There is a delicate balance between jumping a visitor and standing back just to answer
questions.
With a smile, introduce yourself and introduce your work by describing a location, a
technique, an emotion you captured. Engage the customer in light talk. You have nothing
to lose.
Believe in your work and the prospect will believe in your work, too. Believe in yourself, your
vision, your method and technique. Assume this person is a buyer who is interested in you
– your art – and project that positive confidence. Your work has value. Merit. Integrity.
Envision the customer happily taking your work home. You have nothing to lose.
Imbue yourself with the courage to get to know the buyer’s “hot buttons” and identify
whether she is looking to satisfy wants or needs. Wants or needs. Very different motivators
but equally emotional. After all, a purchase of art is an emotional decision. If she buys it
with her heart, she will complete the purchase financially. An incredibly composed
panoramic photo of a slot canyon where she hiked with her friends will capture her heart and
memories. And your shot is so much better than the one she took with her point-n-shoot, she
just has to take yours home. She needs that photo to remind her of one fantastic journey.
Copyright 2004 Fine Print Imaging www.fineprintimaging.com 800.777.1141
We’ve seen too many exhibitors pre-judge a prospective buyer and turn a disinterested
shoulder. Can you really tell a potential buying customer by his clothes, his walk or his
attitude? Maybe some of the time. But not all of the time. By making snap judgments, you
simply don’t have enough information to make assumptions, especially ones that may turn
into an expensive mistake. You have nothing to lose.
Is your style a bit unusual? Not for everyone? Highly abstract oils sandwiched in between a
sea of landscapes? Don’t assume that a visitor doesn’t like your style or won’t buy the piece.
What you don’t know is that the visitor’s next door neighbor absolutely loves bold abstract
paintings and has been looking for a piece just like yours for the bare brick wall in her
entry.
So the customer has come to your booth and expressed interested in your work. You have
opened and maintained a good dialog with the buyer and listened carefully and actively,
showing respect for her opinions. By asking questions and learning about her, you have
identified the nature of her interest, her growing emotional attachment to a piece and
focused on her needs. Plus, carefully crafted questions permit the customer to develop her
point of view and make a decision. You’ve now reached a rather intimate relationship with
the buyer. It’s going well. Now…how to turn a prospective buyer into a buying customer?
It’s easy for a prospective purchaser to walk away if you don’t ask for the sale. Sounds
harsh, but using a little psychology of selling softens your approach and reinforces the
safety of the relationship. Your mantra for an assumptive close: ‘I assume you are going to
buy this photograph because I know you have already purchased it emotionally. You really
do need this photo.’
Try sending up a few ‘test balloons.’ Statements to validate the buyer’s choice can
encourage a pending decision.
“It really makes my day when someone becomes so attached to a piece.”
“You know, this is what it’s all about: people falling in love with my work.”
“I can tell you’re visualizing that print in your home.”
“That’s one of my favorites, too.”
Look for approving body language: a finger on the side of the nose is a sign of careful
thought, open palms signal total acceptance, rubbing palms together means action. Be alert
to eye contact, smiles, conversations with companions and react accordingly. These are all
signs that that a sale is imminent.
If a prospective buyer is giving all the right signals but is still hesitating, it’s time to find
out the barrier to a purchase. Is it price? Size? Inability to make a decision? It’s best not to
ask directly (although you may want to scream, “Well, why not?!”) but perhaps give your
buyer a little space. Begin a dialog with a new visitor to your booth, keeping eyes and ears
on your prospect. Don’t hover but don’t walk away, either. Put a little activity into the scene.
Take the piece outside the booth so your buyer can get a distance viewing. Hold it at eye
level, wear a big smile, and ask “So?”.
Now, give your buyer two opportunities to say yes. For example,
“You know we do accept both MasterCard and Visa. Which would you like to use?”
“Credit cards and checks are both accepted. How would you like to take care of this?”
“Would you like me to wrap this now so you can take it with you or may I ship it to your
home?”
“If you’d like, I can mark it ‘sold,’ take care of the details now and you can come back later
this afternoon to pick it up. That way, you don’t need to lug it around the show.”
Avoid the temptation to put a piece on hold. If the buyer is serious, you can create urgency
for completing the sale at that time. A dialog might sound like this: “You know, I really
can’t hold an original piece of art. To be honest, this is such a good show and many of my
collectors know I am here and come to see the new work available. If someone wants to make
a purchase, I really can’t prohibit that. I know you understand. I can tell you are quite
taken with this piece and I can’t promise that it will still be here an hour or a day from now.
I’d hate it if you were disappointed. Should we wrap it up for you now?” You have nothing to
lose.
If the prospect is still on the fence and you can’t close the sale right there, give her your cell
phone number, hotel or contact information during the show. “If you go home tonight and
decide that this is just what your living room needs, please give me a call tonight and we’ll
arrange a meeting for tomorrow. The show doesn’t end until Sunday and you know where
to find me. But honestly, I can’t put a piece on hold.”
Still can’t close? You did your best. Plus, you’ve met a new customer who loves your work
enough to come close to buying. And that’s terrific. If the piece doesn’t sell, mail a photo of
the painting with a thank-you note letting her know the piece is still available. If it does
sell, still mail a thank-you note to keep her curious about what new work is coming and
where you’ll be exhibiting. This will ultimately create urgency in the prospect’s mind and
plant the seed of your work’s value.
Always provide a visitor with a take-along postcard, flyer or reminder of you that exudes
your unique style and personality. Ask visitors to sign your guest book for follow-up direct
mailings and make sure you have put those mailings into your calendar so you don’t miss
that important marketing opportunity. Cultivate and follow up. You don’t have to spend
thousands on a brochure; just spend the energy to get something out regularly.
Selling something you have created can be gut wrenching and exhilarating at the same
time. Watching your beloved original leave your booth can be as emotional for you as the
purchase was for the buyer. But you chose this profession – or perhaps it chose you. And if
you’re in the business to make a living, learning selling and closing techniques are as
important as learning how to use the tools which make your creativity shine. Visit a
bookstore and wander through the business department. Or visit Amazon and peruse the
504 titles of books about selling and read their reviews. There’s bound to be something there
that speaks your language and motivates you within your comfort level. Many books are
clearly targeted to insurance, real estate and corporate salespeople; however, there are gems
that speak of relationship selling, Socratic techniques and gentle approaches more
appropriate for creatives.
Take advantage of the next show to practice, play and perfect your own personal techniques.
Don’t get discouraged if results are not immediate. Set a goal for a show – try to close one
sale in ten attempts and see how you do. Be flexible and creative. Once you become
comfortable and confident, we know you’ll be pleased with the results.
After all, you have nothing to lose.
Show Evaluation
Show: ____________________________________________________________________________
Dates: ___________________________________________________________________________
Booth location: ____ Great! _____ Adequate _____ Lousy
Comments: ______________________________________________________________________
__________________________________________________________________________________
Gross dollar volume: _______________________________ Expenses: _________________
What sold? _____________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
Who bought and why? _____ Male _____ Female _____ Gift _____ Self
Comments: ______________________________________________________________________
Weather: _________________________________________________________________________
Crowd: ___________________________________________________________________________
Competitors: _____________________________________________________________________
Could’a, Would’a Should’a ______________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
Booth photo:
Copyright 2004 Fine Print Imaging www.fineprintimaging.com 800.777.1141
surviving and succeeding in the
art show world.
Tip #1:
Use a notebook.
Yup - a brand new, very cool big fat three-ring binder from your favorite office supply store.
And dividers. And a good three hole punch. This is going to be your best friend for the next
show season. Here’s how to use it:
Set up one divider for each show. This is where you will insert a Show Evaluation using the
form we’ve developed. Or make up one of your own. The idea is to collect results from each
show so you will learn what sells, who buys, and what to keep doing...or what to change.
You are becoming your own market research analyst, which will help you see what trends
are leading to more sales. And that means success for you!
You’re also going to have a section for resources and you’ll have lots of extra paper for
adding information you collect along the way. By journaling your show experiences, you’ll
rapidly become wiser and you’ll learn from your experiences.
You are going to be so organized, you’ll have a record
of every collector, every sale, and every follow-up
action you’ve taken.
And you’ll know what to do to achieve success
season after season, show after show.
By having everything in one place, you’ll see how
easy it is to be organized and stay organized
to maximize your efforts.
Copyright 2004 Fine Print Imaging www.fineprintimaging.com 800.777.1141
Tip #2:
Know the Show
Do the research. Read, ask, listen. Take notes (and put them in your notebook).
Do you shoot the Tetons in all seasons? They may not fly out of your booth in Florida like
they did in Jackson. Do you paint bold contemporary abstracts? The crowd at the mostlycraft
art show in rural Pennsylvania just might pass you by where traffic would screech to
a stop in Chicago.
Your research will tell you if your art is a good match with the buying public. Visit as
many of your targeted shows as you can and watch other artists. Check out the crowd and
make careful notes about the type of purchases people make. You will soon discover which
shows attract the type of collector who will love - and buy - your work.
Go online and chat with other artists and photographers about their experiences. See the list
we’ve collected in Tip #8.
And a few tips about preparing your slides to submit for jurying:
1. Clear, sharply focused slides are critical.
2. Represent a cohesive body of work, by form, technique or concept in the required slides.
3. Show the work fully.
4. Do not show the frames in the case of flat art.
5. One piece of work per slide.
6. Bold color projects better than pastels, white, grays or blacks.
7. Well-lit, even exposure in all slides is crucial.
8. If you work in 3D, consider indicating scale in one of your slides by including an object
such as an eggor coin if rules permit.
9. Mask empty space in the slide with silver photo masking tape. Or ask the lab processing
your slides do it for you for a cleaner presentation.
10. Don’t let the background overpower or detract from your work.
Many shows require a slide of your booth along with your work. This is an extremely
important image, as jurors are looking for a booth scheme which fits well with other juried
artists. Take care that the shot of your booth is done well: consider having it professionally
shot to ensure quality. Your work may be great but if the booth won’t go with the flow, it
may work against you.
Copyright 2004 Fine Print Imaging www.fineprintimaging.com 800.777.1141
Tip #3:
Evaluate Each Show
Take time after each show to relax, reflect and review. Here’s what you want to learn:
Your dollar volume before expenses and after booth fees, travel, hotel, food and anything else
you can think of.
What sold?
Subject matter (Florals? Landscapes? Horizontals? Verticals?)
Framed or just matted?
More originals or more reproductions (if allowed)
Who bought...and why? Men or women? Younger or older? Was the purchase
for a gift or for him or herself? And for what room in the home or office?
Weather and its effect on attendance and purchasing patterns.
Crowd description and observations about what people were buying.
Your booth layout and location: did either have an impact on sales?
Competition: did you observe a lot of the same type of work? Was price between competitors
a concern?
Your goal after evaluating a show: Learn who buys your work and what they plan on
doing with their new acquisition. Become a profiler and use that to your advantage to
find shows and events which draw a similar crowd.
Copyright 2004 Fine Print Imaging www.fineprintimaging.com 800.777.1141
Tip #4:
Develop a Mailing
List
In your hometown, start by collecting names, addresses and email addresses of friends,
business associates, neighbors, your accountant, insurance agent, dentist, school staff, and
influlential community members.
Computer literate? Enter information into a database or software program that will help you
grow. Not computer savvy? Use simple 3” x 5” cards, alphabetized, saved carefully in a box.
Always keep track of what you sent each contact person: a thank you note, postcard of
upcoming shows, and special events. Make sure you enter what that person purchased or, if
they ended up not purchasing, what they were interested in.
In your booth, have a nice address book with a pen tethered to it and ask visitors to add their
contact information. Sweeten the deal and have a drawing for end-of-show gift for the
lucky person whose name you draw. Immediately after the show, enter all this new
information into your database along with any notes to help you remember these folks.
Now...use this data to send out postcards of new work, show schedules as they become
available, special events like one man/woman shows, new galleries and new retail locations.
Mail holiday cards which showcase your work.
Your goal is to contact the people on your list a minimum of four times per year.
No kidding! The really works and if you’re organized, you can do it and reap the rewards.
To reinforce and expand on what we are recommending, attached is an article from The
Artist’s Magazine which is reproduced with the publisher’s permission.
We’re also enclosing a trial copy of “The Working Artist” software for Windows to show you
how a software program can make your life easier quickly and effortlessly.
Copyright 2004 Fine Print Imaging www.fineprintimaging.com 800.777.1141
Tip #5:
The Booth
Here’s where all your hard work pays off. Your creativity shines in a great booth which
draws visitors in to see more and meet you.
We recommend one big, bold signature piece to capture the crowd’s attention. Choose an
image with the “gasp factor” - the one that makes people stop in their tracks and walk up to
admire your collection. Your friendly presence at the entrance of your booth is equally
important. Please...don’t hide from your public. Be active in your booth: talk with visitors,
move around, dust and adjust your work. Create energy by your movement, which draws
people in. And for goodness sake, make eye contact and smile!
Use lighting if it’s available. Have a table ready with that all-important address book.
Bring an Art Show Survival Kit, a large snap-shut plastic box filled with Hand
wipes.....Glass cleaner.....Paper towels.....Sunscreen.....Hard candy.....Breathstrips, breath
mints, gum...Mini Band-aids.....Mini hand lotion.....Eye drops.....Energy bars.....Excedrin
(melting kind)...Lens cleaner for glasses.....Mini fan and batteries.....Mini Kleenex.....Pens
and pencils...Scotch tape.....Duct tape.....Small notebook......Mini stapler..... Poncho.....
Purell.....Double stick mounting tape.....Water bottle.....Camera for photographing your
booth.....Reading material.
Here’s your must-have checklist:
Your professional booth, cleaned and ready.....Business cards and promotional flyers.....
Calculator.....Change.....Price tags and signs.....Receipt books.....Credit card machine and
slips.....Clear bags for sold items (so show-goers can see your work while your buyer walks
around).....Display items (hooks, cups, etc.).....Racks for prints and cards if allowed.....
Booth sign.....Table and tall director’s chair.....and a nicely packaged collection of your work
ready for sale.
More keys to good sales: Dress comfortably yet professionally. Everything must be kept
clean and neat: bins, mats, sleeves, panels, clothing, tent. Keep it simple: don’t clutter the
booth with too many sizes, different colored mats and different frames. Create a gallery
atmosphere and design. Quality counts: don’t use bed sheets, cardboard boxes, handlettered
signs (unless you’re good!) or anything else that says you are new or low on cash. Reflect
the image of an established professional, even if you’re not. Clearly display your prices:
people hate to ask.
Copyright 2004 Fine Print Imaging www.fineprintimaging.com 800.777.1141
Tip #6:
Follow-Up
We know the post-show-onto-the-next-one syndrome. But your follow-up is so critical to
building your success it cannot be dismissed. This activity makes the difference between a
one-time sale and cultivating a collector.
Write (not email, please) a thank you note to each person who purchased from you. Write
anyone who expresses an interest in your art or who talks to you about possible
commissions. Write anyone who provides leads to people who might be interested in your
work. Write a thank you note to anyone and everyone who helped you along the way: the
show organizer, the artist next to you who loaned you her handcart, the show’s volunteer
coordinator, even the sponsors.
The power of the handwritten thank you note makes you stand apart. Yes, it’s a lot of
work...better get busy!
Finally, organize your stuff. Clean things that need to be cleaned. Update your notebook
while memory is fresh. Add names to your database. Check inventory. Replace items in
your SUrvival Kit. Make notes on your review form and make an honest evaluation: what
worked? What didn’t? And what could you do to make the next one better?
Copyright 2004 Fine Print Imaging www.fineprintimaging.com 800.777.1141
Tip #7:
Read!
Education is power. We recommend the following:
ArtMarketing 101 by Constance Smith
This book covers is all and is the textbook to have. Many bookstores carry it, order at
Amazon.com, or contact the author directly: 800.383.0677 or
www.artmarketing.com/books In addition, Constance has many other resources
about licensing, business management, internet marketing and more.
Sunshine Artist magazine
Subscribe here: http://www.sunshineartist.com/ Or call 1-800-804-4607.
This is by far and away the most comprehensive publication for artists on the art
show circuit. The website has an excellent archive of articles discussing equipment,
the law, safety, insurance issues, and much more. Their compilation of the 200 Best
is an important issue to read carefully.
Art Fair Sourcebook by Greg Lawler
Comprehensive listings and rankings of the top 600 shows nationwide.
Test drive the book and sUbscribe here: http://www.artfairsource.com/ or call
1-800-358-2045 for more information.
Décor magazine and Art Business News
Discover trends regarding images, color and wall décor are revealed in these widelyread
trade publications. Call Art Business News toll free at 1-888-527-7008; Décor
at 1-888-772-8926.
These by no means are a definitive list of every book and publication devoted to the selling
of art. We like them because of their specific niches and accurate, trustworty information.
Let us know what you have discovered...and visit our website for more.
Copyright 2004 Fine Print Imaging www.fineprintimaging.com 800.777.1141
Tip #8:
The Web
Do you need a website? We recommend that if you have the resources, a website is a good
backup for your show-goers. If you can keep it fresh, current, visually elegant and
professional in appearance, by all means yes! Your website is an excellent back-up for show
goers who looked at your work but didn’t purchase and went home wishing they had.
Residual sales may come from it...but don’t depend solely on the web for building your
collectors. People like to meet the artist and that’s why you’re doing your shows.
Some of our favorite websites include...
http://www.artbizcoach.com Alyson Stanfield has a terrific online program for
building your business. Subscribe to her free weekly
newsletter for upbeat tips for jump-starting your day.
http://www.wetcanvas.com/ Wet Canvas is billed as ‘cyber living for artists’ and
you’ll find a wealth of resources, discussion groups
and networking online.
http://groups.yahoo.com/group/digital-fineart/ Here’s a discussion group for artists
and photographers immersed (or beginning) in the
world of digital creativity and technology.
http://groups.yahoo.com/group/artshow_photo/ This terrific online group was created
by and for photographers who do art shows and is
packed with great tips and ideas. Even through
it is specifically for photographers, artists will learn
just as much about equipment recommendations and
ideas. A must-visit.
http://ArtShowPhoto.com larry Berman and Chris Maher had put together a
terrific website packed with articles, resources and
tutorials for success. Read the articles...some of the
best.
Copyright 2004 Fine Print Imaging www.fineprintimaging.com 800.777.1141
Tip #9:
Collect Resources
More research, but you are the one to gain. Ask your colleagues on the show circuit: it’s a
great network of great people who are eager to share.
Some of our favorite and recommended
resources include...
Art Marketing Consultants:
ArtBizCoach
Alyson Stanfield
720.570.3949
www.artbizcoach.com
alyson@artbizcoach.com
ArtNetwork
Constance Smith
800.383.0677
www.artmarketing.com
info@artmarketing.com
ArtScope
Kathy Vogler
vogkat@bright.net
Gorman Art Matters
Geoffrey Gorman
705.989.4186
www.artistcareertraining.com
ggarts@aol.com
Copyright 2004 Fine Print Imaging www.fineprintimaging.com 800.777.1141
Boxes and Shipping Materials
THARCO
800.525.1831
ULINE
800.295.5510
Calumet Carton Company
708.333.6521
www.calumet carton.com
Colorado Container
303.331.0400
Airfloat Systems
800.445.2550
www.airfloatsys.com
Clear Plastic Bags
Impact Images
Central and East Time Zones: 800.328.1847
Pacific and Mountain: 800.233.2630
Copyright Questions
US Copyright Office
202.707.3000: Information, no legal advice
202.707.9100: Hotline to request forms
Volunteer Lawyers for the Arts
212.319.2910
Tip #10:
Sales is Not a Four-Letter Word
You are an artist, a photographer, a creator of visual images designed to enlighten, enhance,
enjoy. But to become successful in the business of art, you’ve got to master a few techniques
of (don’t gasp now…) sales.
There. We said it. Sales. Sales of your work make money. Granted, we can all be esoteric
dreamers, but if you’re at a show or in a gallery, you’re there to sell. This next marketing
installment will give you a few tips and techniques for selling your work without sounding
like a used car salesman.
You have nothing to lose and everything to gain.
If a visitor enters your booth, she is truly interested in your art – and you. That prospective
buyer has seen something that stopped her from wandering down the row and enticed her to
come into your space to see more. This is your opportunity to shine.
There is a delicate balance between jumping a visitor and standing back just to answer
questions.
With a smile, introduce yourself and introduce your work by describing a location, a
technique, an emotion you captured. Engage the customer in light talk. You have nothing
to lose.
Believe in your work and the prospect will believe in your work, too. Believe in yourself, your
vision, your method and technique. Assume this person is a buyer who is interested in you
– your art – and project that positive confidence. Your work has value. Merit. Integrity.
Envision the customer happily taking your work home. You have nothing to lose.
Imbue yourself with the courage to get to know the buyer’s “hot buttons” and identify
whether she is looking to satisfy wants or needs. Wants or needs. Very different motivators
but equally emotional. After all, a purchase of art is an emotional decision. If she buys it
with her heart, she will complete the purchase financially. An incredibly composed
panoramic photo of a slot canyon where she hiked with her friends will capture her heart and
memories. And your shot is so much better than the one she took with her point-n-shoot, she
just has to take yours home. She needs that photo to remind her of one fantastic journey.
Copyright 2004 Fine Print Imaging www.fineprintimaging.com 800.777.1141
We’ve seen too many exhibitors pre-judge a prospective buyer and turn a disinterested
shoulder. Can you really tell a potential buying customer by his clothes, his walk or his
attitude? Maybe some of the time. But not all of the time. By making snap judgments, you
simply don’t have enough information to make assumptions, especially ones that may turn
into an expensive mistake. You have nothing to lose.
Is your style a bit unusual? Not for everyone? Highly abstract oils sandwiched in between a
sea of landscapes? Don’t assume that a visitor doesn’t like your style or won’t buy the piece.
What you don’t know is that the visitor’s next door neighbor absolutely loves bold abstract
paintings and has been looking for a piece just like yours for the bare brick wall in her
entry.
So the customer has come to your booth and expressed interested in your work. You have
opened and maintained a good dialog with the buyer and listened carefully and actively,
showing respect for her opinions. By asking questions and learning about her, you have
identified the nature of her interest, her growing emotional attachment to a piece and
focused on her needs. Plus, carefully crafted questions permit the customer to develop her
point of view and make a decision. You’ve now reached a rather intimate relationship with
the buyer. It’s going well. Now…how to turn a prospective buyer into a buying customer?
It’s easy for a prospective purchaser to walk away if you don’t ask for the sale. Sounds
harsh, but using a little psychology of selling softens your approach and reinforces the
safety of the relationship. Your mantra for an assumptive close: ‘I assume you are going to
buy this photograph because I know you have already purchased it emotionally. You really
do need this photo.’
Try sending up a few ‘test balloons.’ Statements to validate the buyer’s choice can
encourage a pending decision.
“It really makes my day when someone becomes so attached to a piece.”
“You know, this is what it’s all about: people falling in love with my work.”
“I can tell you’re visualizing that print in your home.”
“That’s one of my favorites, too.”
Look for approving body language: a finger on the side of the nose is a sign of careful
thought, open palms signal total acceptance, rubbing palms together means action. Be alert
to eye contact, smiles, conversations with companions and react accordingly. These are all
signs that that a sale is imminent.
If a prospective buyer is giving all the right signals but is still hesitating, it’s time to find
out the barrier to a purchase. Is it price? Size? Inability to make a decision? It’s best not to
ask directly (although you may want to scream, “Well, why not?!”) but perhaps give your
buyer a little space. Begin a dialog with a new visitor to your booth, keeping eyes and ears
on your prospect. Don’t hover but don’t walk away, either. Put a little activity into the scene.
Take the piece outside the booth so your buyer can get a distance viewing. Hold it at eye
level, wear a big smile, and ask “So?”.
Now, give your buyer two opportunities to say yes. For example,
“You know we do accept both MasterCard and Visa. Which would you like to use?”
“Credit cards and checks are both accepted. How would you like to take care of this?”
“Would you like me to wrap this now so you can take it with you or may I ship it to your
home?”
“If you’d like, I can mark it ‘sold,’ take care of the details now and you can come back later
this afternoon to pick it up. That way, you don’t need to lug it around the show.”
Avoid the temptation to put a piece on hold. If the buyer is serious, you can create urgency
for completing the sale at that time. A dialog might sound like this: “You know, I really
can’t hold an original piece of art. To be honest, this is such a good show and many of my
collectors know I am here and come to see the new work available. If someone wants to make
a purchase, I really can’t prohibit that. I know you understand. I can tell you are quite
taken with this piece and I can’t promise that it will still be here an hour or a day from now.
I’d hate it if you were disappointed. Should we wrap it up for you now?” You have nothing to
lose.
If the prospect is still on the fence and you can’t close the sale right there, give her your cell
phone number, hotel or contact information during the show. “If you go home tonight and
decide that this is just what your living room needs, please give me a call tonight and we’ll
arrange a meeting for tomorrow. The show doesn’t end until Sunday and you know where
to find me. But honestly, I can’t put a piece on hold.”
Still can’t close? You did your best. Plus, you’ve met a new customer who loves your work
enough to come close to buying. And that’s terrific. If the piece doesn’t sell, mail a photo of
the painting with a thank-you note letting her know the piece is still available. If it does
sell, still mail a thank-you note to keep her curious about what new work is coming and
where you’ll be exhibiting. This will ultimately create urgency in the prospect’s mind and
plant the seed of your work’s value.
Always provide a visitor with a take-along postcard, flyer or reminder of you that exudes
your unique style and personality. Ask visitors to sign your guest book for follow-up direct
mailings and make sure you have put those mailings into your calendar so you don’t miss
that important marketing opportunity. Cultivate and follow up. You don’t have to spend
thousands on a brochure; just spend the energy to get something out regularly.
Selling something you have created can be gut wrenching and exhilarating at the same
time. Watching your beloved original leave your booth can be as emotional for you as the
purchase was for the buyer. But you chose this profession – or perhaps it chose you. And if
you’re in the business to make a living, learning selling and closing techniques are as
important as learning how to use the tools which make your creativity shine. Visit a
bookstore and wander through the business department. Or visit Amazon and peruse the
504 titles of books about selling and read their reviews. There’s bound to be something there
that speaks your language and motivates you within your comfort level. Many books are
clearly targeted to insurance, real estate and corporate salespeople; however, there are gems
that speak of relationship selling, Socratic techniques and gentle approaches more
appropriate for creatives.
Take advantage of the next show to practice, play and perfect your own personal techniques.
Don’t get discouraged if results are not immediate. Set a goal for a show – try to close one
sale in ten attempts and see how you do. Be flexible and creative. Once you become
comfortable and confident, we know you’ll be pleased with the results.
After all, you have nothing to lose.
Show Evaluation
Show: ____________________________________________________________________________
Dates: ___________________________________________________________________________
Booth location: ____ Great! _____ Adequate _____ Lousy
Comments: ______________________________________________________________________
__________________________________________________________________________________
Gross dollar volume: _______________________________ Expenses: _________________
What sold? _____________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
Who bought and why? _____ Male _____ Female _____ Gift _____ Self
Comments: ______________________________________________________________________
Weather: _________________________________________________________________________
Crowd: ___________________________________________________________________________
Competitors: _____________________________________________________________________
Could’a, Would’a Should’a ______________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
Booth photo:
Copyright 2004 Fine Print Imaging www.fineprintimaging.com 800.777.1141
Monday, February 11, 2008
What an artist should do when recieving a compliment!
John Jantsch of Duct Tape Marketing<http://fineartviews.com/offers/jantsch1.asp> writes, "If you are like most, when you receive a compliment, you look down at your shoes, shuffle your feet, get a little blushy and stammer something like, shucks, it was nothing.
"Well don't. He goes on to say, "... this is the perfect time to ask for and receive a testimonial, a lead, new business or a referral. You don't have to fall all over yourself acknowledging how smart you are. You can seize the day tastefully by simply being prepared to suggest that your client might know someone else who would like these kinds of results.
"It seems to us that this is perfect advice for artists. Next time you're at a show and someone compliments your work, especially someone who has purchased the work, ask for a referral or a testimonial. It could be as easy as, "That's very nice of you to say....you know what would really help me out is if we could put that in writing for use on my web site." Most people are delighted to help out artists and a referral or testimonial is an easy way to do that.
For John's complete article, or more Duct Tape Marketing insights, visit the Duct Tape Marketing site <http://www.ducttapemarketing.com/> . Sincerely,Clint WatsonSoftware Craftsman and Art Fanatic
------------This article is reproduced with permission. Copyright 2008 - Clint Watson.
"Well don't. He goes on to say, "... this is the perfect time to ask for and receive a testimonial, a lead, new business or a referral. You don't have to fall all over yourself acknowledging how smart you are. You can seize the day tastefully by simply being prepared to suggest that your client might know someone else who would like these kinds of results.
"It seems to us that this is perfect advice for artists. Next time you're at a show and someone compliments your work, especially someone who has purchased the work, ask for a referral or a testimonial. It could be as easy as, "That's very nice of you to say....you know what would really help me out is if we could put that in writing for use on my web site." Most people are delighted to help out artists and a referral or testimonial is an easy way to do that.
For John's complete article, or more Duct Tape Marketing insights, visit the Duct Tape Marketing site <http://www.ducttapemarketing.com/> . Sincerely,Clint WatsonSoftware Craftsman and Art Fanatic
------------This article is reproduced with permission. Copyright 2008 - Clint Watson.
Friday, February 8, 2008
Photographing your ArtWork
Equipment
1. Use a 35mm single lens reflex (SLR) camera with manual adjustments and a 50-55mm lens.
2. Use a sturdy tripod that will tilt and rotate.
3. Shoot with two or three 500-watt photofloods with reflectors as your only light source. Do not mix with any other lights.
4. For vertical work, drape a large black cloth on the wall to minimize reflections. If your shooting on a tabletop, you can use a 4x4' sheet of white or gray Formica or a seamless roll of paper.
Shooting
1. The first most important step is to match your film to your light source. If you're shooting with flash or in daylight, Kodak EPN is a good choice for its neutral balance. Use a tungsten-balanced film like Fuji RTP 64T with photofloods, household-type lights or track lighting.
2. Buy your film from a professional photo supplier. Professional film is usually stored in a fridge or walk in cooler.
3. Test your film and lighting conditions so that you can predict the results the next time around.
4. Control the lighting as much as possible. Take note of the area that you plan to photograph in. Can you turn off fluorescent lights? Can you block out windows that may affect your lighting? If you can't block the windows, shoot at night. Avoid using on-camera flash.
5. Shooting outside is unpredictable but if you must, shoot in mid afternoon with a daylight-balanced film. Avoid direct sunlight, a slightly overcast day is best or shoot in the open shade. You may need a warming filter like an 81A, B or C on the lens as the light tends to be cool in the shade.
6. Instead of adding another light, use a "bounce card" (white foam core) to reflect light back into your art. This works well on small sculpture.
Miscellaneous
1. Center the artwork in the camera and fill the frame as much as possible. Since you can't always fill the frame without cropping your work, choose a clean background, as it will be seen in the slide.
2. Photograph your work during a gallery show. Use the gallery lighting to supplement your own lights. If possible, adjust the gallery lights for your photographs.
3. Take your film to a professional lab for processing.
Avoid...
1. Shooting your work framed behind glass. If you have no other choice, drape a large black cloth behind and around the camera.
2. Your lights reflecting in the camera. Look directly into the lens for this and place a black card between the lens and the lights to block out the reflection.
3. If you're using the lights in a gallery and the lights are on a dimmer switch, do not dim the lights, dimmed lights are too warm and your slides will have a yellow cast.
1. Use a 35mm single lens reflex (SLR) camera with manual adjustments and a 50-55mm lens.
2. Use a sturdy tripod that will tilt and rotate.
3. Shoot with two or three 500-watt photofloods with reflectors as your only light source. Do not mix with any other lights.
4. For vertical work, drape a large black cloth on the wall to minimize reflections. If your shooting on a tabletop, you can use a 4x4' sheet of white or gray Formica or a seamless roll of paper.
Shooting
1. The first most important step is to match your film to your light source. If you're shooting with flash or in daylight, Kodak EPN is a good choice for its neutral balance. Use a tungsten-balanced film like Fuji RTP 64T with photofloods, household-type lights or track lighting.
2. Buy your film from a professional photo supplier. Professional film is usually stored in a fridge or walk in cooler.
3. Test your film and lighting conditions so that you can predict the results the next time around.
4. Control the lighting as much as possible. Take note of the area that you plan to photograph in. Can you turn off fluorescent lights? Can you block out windows that may affect your lighting? If you can't block the windows, shoot at night. Avoid using on-camera flash.
5. Shooting outside is unpredictable but if you must, shoot in mid afternoon with a daylight-balanced film. Avoid direct sunlight, a slightly overcast day is best or shoot in the open shade. You may need a warming filter like an 81A, B or C on the lens as the light tends to be cool in the shade.
6. Instead of adding another light, use a "bounce card" (white foam core) to reflect light back into your art. This works well on small sculpture.
Miscellaneous
1. Center the artwork in the camera and fill the frame as much as possible. Since you can't always fill the frame without cropping your work, choose a clean background, as it will be seen in the slide.
2. Photograph your work during a gallery show. Use the gallery lighting to supplement your own lights. If possible, adjust the gallery lights for your photographs.
3. Take your film to a professional lab for processing.
Avoid...
1. Shooting your work framed behind glass. If you have no other choice, drape a large black cloth behind and around the camera.
2. Your lights reflecting in the camera. Look directly into the lens for this and place a black card between the lens and the lights to block out the reflection.
3. If you're using the lights in a gallery and the lights are on a dimmer switch, do not dim the lights, dimmed lights are too warm and your slides will have a yellow cast.
Self-examination For Success
Look for the answer to "What does success mean to you?" It won't be an easyprocess. Recall those times you have felt successful in the past, but don't dwell on them. You've moved beyond that and need a new vision filled with new challenges. Here are four steps to help.
1. Start by journaling or brainstorming with these words asprompts: money, fame, success, and recognition.
2. Do the same with these words: sales, exhibits, publicity,galleries, and museums.
3. Finally, take a look at the rest of your life. What, besidesyour art, are your values and priorities? Do you have a life vision? Isthis compatible with your career vision or do you need to adjust?
4. Talk about your vision with someone close to you. This comes after you've done the dirty work above because much of it would be uncomfortable sharing before you're clear on a few things. Having a conversation about your vision with the right person (!) can help you clarify things even further. The right person will be objective, ask you questions, and lead you to consider different angles and solutions. The right person will help you find the path to fulfilling your vision.
1. Start by journaling or brainstorming with these words asprompts: money, fame, success, and recognition.
2. Do the same with these words: sales, exhibits, publicity,galleries, and museums.
3. Finally, take a look at the rest of your life. What, besidesyour art, are your values and priorities? Do you have a life vision? Isthis compatible with your career vision or do you need to adjust?
4. Talk about your vision with someone close to you. This comes after you've done the dirty work above because much of it would be uncomfortable sharing before you're clear on a few things. Having a conversation about your vision with the right person (!) can help you clarify things even further. The right person will be objective, ask you questions, and lead you to consider different angles and solutions. The right person will help you find the path to fulfilling your vision.
The Advantages Of Entering An Art Competition Or Show
Tips of the Trade
(borrowed with permission)
(by Nancy DeCamillis, Executive Editor Sculptural Pursuit magazine)
Participating in a competition or show is an opportunity to grow professionally as an artist. The steps you take to complete your application may prepare you for showing and selling your work. Meeting the deadlines to enter competitions provides you the necessary impetus to complete works and have professional-quality photographs taken. Entering and winning an art competition can do great things for your confidence and for your résumé. Even if you don’t win, you should congratulate yourself for putting forth the effort to take your work out of the studio. As Marie Gibbons, a clay sculptor featured in the Summer 2003 issue of Sculptural Pursuit, said, "You develop it (your work) in your mind, create it, and then you must get it out there for the public to take part. If you just create and keep it to yourself, I think it stifles your growth and understanding of your own work."
Some key things to remember when entering competitions include:
1. There are many entries vying for the awards or selections. Follow ALL of the competition guidelines and rules to increase your chance of winning. Send only what is requested in the competition rules. A small technical error, such as leaving your name or red dot off a slide, not signing entry/release forms, or not submitting the proper fees or SASE, can mean automatic rejection.
2. Submit professional images in the specified medium, generally slides. The jurors evaluate your work based on your images. It cannot be stressed enough; no matter how fabulous your work is, it is only as good as it looks in the slides.
3. Photograph your artwork on a clean neutral background with appropriate lighting to show details and lines of the work. Don’t allow lighting to create shadows that distract from the work.
4. Send up-to-date dust free slides in clean plastic sleeves, with information printed on the slides in ink; don’t use stick-on labels; they jam up the projector or fall off and the slides cannot be identified.
5. Meet the deadline dates.
1
When deciding to enter a competition or show, check out the credentials of the organizers. If you don’t understand the rules and guidelines, ask questions. You can ask for information on the jurors. The show organizers will give guidelines for the jurors to follow; judging is a product of these objective guidelines and the subjective opinions of the jurors, who are often experts in the field. The artists’ names are not shown to the jurors in order to encourage objectivity. Due to the subjective nature of judging a competition, remember that just because one juror doesn’t like a particular work, another one may.
The Role of an Art Competition Juror
Art competitions or shows fall into two categories, open or juried. An open art event allows any artist who submits the opportunity to participate. There may be little control over the quality of the work. A juried show allows the show promoters to set professional standards for the artist to follow and assures that there will be quality works exhibited.
The selected jury may be one person or a panel of two or more. They usually are selected because their qualifications are specific to the event and the art they are to judge. During the jury process, they work independently from the committee members or promoters of the event. It is also important they have sufficient time to make their decisions based on criteria provided by the staff.
Guidelines for the jurors may include the following questions: Do you like the work and why? Does the work involve you as the viewer? How is the work organized? Are the basic elements contained in the work: shape/form, texture, line, color, etc.? Are these elements arranged with balance, proportion, variety, rhythm, and emphasis? Do these come together as a whole? Is there unity? What is the feeling expressed: playful, menacing, peaceful, tense, etc.?
Judging Criteria for Scoring
ORIGINALITY: Work must be an original composition and design, not a copy.
CONTENT: Should have an original and strong concept or feeling at its core.
SKILL/TECHNIQUE: Look for technical competence for the particular medium. Look for inventive application of techniques, and be sensitive to works that demonstrate the artist’s willingness to take risks and to experiment with materials, form, and content.
EXPRESSION: Look for the emergence of personal vision or style, and the expression of ideas, thoughts, or concepts.
SCORING: Use the scale of 1 to 5, with 5 the highest and 3 excluded so the results don’t deadlock around the midpoint.
Tips For The Jurors
Act in a fair-minded conscientious manner weighing decisions with thoughtfulness, fairness, knowledge, consistency, and integrity. Remember to keep in mind that each entry is the pride and joy of the person who created it. Vote for the works that show originality, quality, technical proficiency, and integrity even if the work doesn’t appeal to your design preferences.
Tips From Jurors To The Artists
During the initial round of jurying slides for a show or competition, there are about thirty seconds between the projection of each slide or set. Therefore, it is extremely important that slides be of the clearest quality so the jurors can focus their attention on the work. Mediocre work may win because excellent slides focused on the work, had no distractions, and had high contrast between the work and the background.
2
When you submit a series of slides, it is important that the slides show a consistent body of work. If there is a work of a different subject or materials, submit the slides numbered in a sequence to place the odd slide at either end. In other words, organize the group of slides as a composition that shows your strongest or best slide as a center of interest. Perhaps have the lines, shadows, or colors of a painting or sculpture in one slide draw the eye to the next slide. Remember, anything in the slide that creates a distraction from the work can keep the work from being selected. Since most of us are too familiar with our own work, it is a good idea to ask a friend you trust to view the slides with you. They can sometimes spot a detail you may miss. Choose the photographs that grab attention— that have the WOW quality. You want to enter that quality of slide so your work has a chance to be selected. Study fine art and sculpture magazines for examples of well-photographed work.
(borrowed with permission)
(by Nancy DeCamillis, Executive Editor Sculptural Pursuit magazine)
Participating in a competition or show is an opportunity to grow professionally as an artist. The steps you take to complete your application may prepare you for showing and selling your work. Meeting the deadlines to enter competitions provides you the necessary impetus to complete works and have professional-quality photographs taken. Entering and winning an art competition can do great things for your confidence and for your résumé. Even if you don’t win, you should congratulate yourself for putting forth the effort to take your work out of the studio. As Marie Gibbons, a clay sculptor featured in the Summer 2003 issue of Sculptural Pursuit, said, "You develop it (your work) in your mind, create it, and then you must get it out there for the public to take part. If you just create and keep it to yourself, I think it stifles your growth and understanding of your own work."
Some key things to remember when entering competitions include:
1. There are many entries vying for the awards or selections. Follow ALL of the competition guidelines and rules to increase your chance of winning. Send only what is requested in the competition rules. A small technical error, such as leaving your name or red dot off a slide, not signing entry/release forms, or not submitting the proper fees or SASE, can mean automatic rejection.
2. Submit professional images in the specified medium, generally slides. The jurors evaluate your work based on your images. It cannot be stressed enough; no matter how fabulous your work is, it is only as good as it looks in the slides.
3. Photograph your artwork on a clean neutral background with appropriate lighting to show details and lines of the work. Don’t allow lighting to create shadows that distract from the work.
4. Send up-to-date dust free slides in clean plastic sleeves, with information printed on the slides in ink; don’t use stick-on labels; they jam up the projector or fall off and the slides cannot be identified.
5. Meet the deadline dates.
1
When deciding to enter a competition or show, check out the credentials of the organizers. If you don’t understand the rules and guidelines, ask questions. You can ask for information on the jurors. The show organizers will give guidelines for the jurors to follow; judging is a product of these objective guidelines and the subjective opinions of the jurors, who are often experts in the field. The artists’ names are not shown to the jurors in order to encourage objectivity. Due to the subjective nature of judging a competition, remember that just because one juror doesn’t like a particular work, another one may.
The Role of an Art Competition Juror
Art competitions or shows fall into two categories, open or juried. An open art event allows any artist who submits the opportunity to participate. There may be little control over the quality of the work. A juried show allows the show promoters to set professional standards for the artist to follow and assures that there will be quality works exhibited.
The selected jury may be one person or a panel of two or more. They usually are selected because their qualifications are specific to the event and the art they are to judge. During the jury process, they work independently from the committee members or promoters of the event. It is also important they have sufficient time to make their decisions based on criteria provided by the staff.
Guidelines for the jurors may include the following questions: Do you like the work and why? Does the work involve you as the viewer? How is the work organized? Are the basic elements contained in the work: shape/form, texture, line, color, etc.? Are these elements arranged with balance, proportion, variety, rhythm, and emphasis? Do these come together as a whole? Is there unity? What is the feeling expressed: playful, menacing, peaceful, tense, etc.?
Judging Criteria for Scoring
ORIGINALITY: Work must be an original composition and design, not a copy.
CONTENT: Should have an original and strong concept or feeling at its core.
SKILL/TECHNIQUE: Look for technical competence for the particular medium. Look for inventive application of techniques, and be sensitive to works that demonstrate the artist’s willingness to take risks and to experiment with materials, form, and content.
EXPRESSION: Look for the emergence of personal vision or style, and the expression of ideas, thoughts, or concepts.
SCORING: Use the scale of 1 to 5, with 5 the highest and 3 excluded so the results don’t deadlock around the midpoint.
Tips For The Jurors
Act in a fair-minded conscientious manner weighing decisions with thoughtfulness, fairness, knowledge, consistency, and integrity. Remember to keep in mind that each entry is the pride and joy of the person who created it. Vote for the works that show originality, quality, technical proficiency, and integrity even if the work doesn’t appeal to your design preferences.
Tips From Jurors To The Artists
During the initial round of jurying slides for a show or competition, there are about thirty seconds between the projection of each slide or set. Therefore, it is extremely important that slides be of the clearest quality so the jurors can focus their attention on the work. Mediocre work may win because excellent slides focused on the work, had no distractions, and had high contrast between the work and the background.
2
When you submit a series of slides, it is important that the slides show a consistent body of work. If there is a work of a different subject or materials, submit the slides numbered in a sequence to place the odd slide at either end. In other words, organize the group of slides as a composition that shows your strongest or best slide as a center of interest. Perhaps have the lines, shadows, or colors of a painting or sculpture in one slide draw the eye to the next slide. Remember, anything in the slide that creates a distraction from the work can keep the work from being selected. Since most of us are too familiar with our own work, it is a good idea to ask a friend you trust to view the slides with you. They can sometimes spot a detail you may miss. Choose the photographs that grab attention— that have the WOW quality. You want to enter that quality of slide so your work has a chance to be selected. Study fine art and sculpture magazines for examples of well-photographed work.
An Artist's Resolutions
RESOLVE to update my mailing list on a regular basis.
RESOLVE to use my mailing list on a regular basis.
RESOLVE to organize my mailing list on a computer database.
RESOLVE to try a different color.
RESOLVE to experiment with a new media.
RESOLVE to expand my knowledge of art.
RESOLVE to meet more people.
RESOLVE to practice a ten-second commercial about myself so that I know what to say when meeting new people.
RESOLVE to send personal notes to the new people I meet and to those who have been good to me in the past.
RESOLVE to join and become involved in an artist organization.
RESOLVE to network with other people in business for themselves.
RESOLVE to understand better what it takes to be a self-employed artist.
RESOLVE to stop whining about not having enough time.
RESOLVE to say "no" to those things that are not important to me or that get in the way of what I want to be.
RESOLVE to figure out what success as an artist means to me.
RESOLVE to understand my work better and what it means to me.
RESOLVE to differentiate myself from other artists.
RESOLVE to take risks.
An Artist’s Resolutions
Thursday, February 7, 2008
Marketing your art!
Six Steps to Maximize Your Art Marketing
1. Start by honing your craft - produce the best work that you possibly can.
2. Set up your own, stand-alone web site with your own domain name.
3. Persuade site visitors to voluntarily provide you with their email addresses with a clear, automated and enticing newsletter sign up page.
4. Approach galleries and get your work displayed in a good walk-in art gallery (or more than one).
5. Use your list of email addresses collected from your site to promote yourself, your work and your galleries.
6. If, and only if, you have time, set up free accounts with online art portfolio and community sites. Don't expect many sales from those sites - look at them as "advertising" to direct traffic to your web site. Not one of them is likely to drive much traffic to your site but the aggregated traffic of many utilized together might send you enough to garner a few clients....and in the art game a few clients can make a big difference.
7. Persuade site visitors to provide you with their email addresses with a clear, automated and enticing newsletter sign up page.
This article appears courtesy of FineArtViews.com by ClintWatson, a free email newsletter about art, marketing, inspiration andfine living for artists, collectors and galleries (and anyone else who loves art) .
Monday, February 4, 2008
Ahead of the Storm
My first painting for the month of February is a 36" x 48" acrylic-on-canvas,
entitled; " Ahead of the Storm". I created this painting
as a replacement for any paintings that might
sell for the "4-Legs" themed show I'm currently showing in.
It is gallery wrapped with the image extending around the edges.
It will be on display at my studio, located at
501-G High St. in Olde Towne, Portsmouth, Virginia.
Enjoy my art, thanks for stopping by,
and have a great day!
Sunday, February 3, 2008
A Review of January 2008 Paintings
These paintings were all created for an art show with the theme, "4-legs", which started January 25th and continuing till April 21st.
This first painting was actually completed at the end of December, 2007, but framed finally in January. It's entitled; "Rodeo Rider", and is an acrylic-on canvas, 18" x 24". This painting depicts extreme action and movement.
This painting is entitled; "Frolicking Friends", and is a 36" x 48" acrylic-on-canvas. I was looking for a feeling of excitement and happiness-of-freedom with this painting
. This painting is entitled; "Beauty In Motion" and is a 30" x 40" acrylic-on-canvas. A first attempt at an underwater scene, I was looking for a feeling of natural beauty and weightlessness that the undersea environment offers.
All of these paintings have been luxuriously framed and are ready for hanging. They can be purchased at my online store with the address of http://koolartoo.etsy.com, where a shopping cart is set up and purchases thru Paypal or by credit card or personal checks or money-orders are available. More photos can be provided if desired, just e-mail me with your enquiries at: amphibous_strutter@yahoo.com, and I'll respond.
This first painting was actually completed at the end of December, 2007, but framed finally in January. It's entitled; "Rodeo Rider", and is an acrylic-on canvas, 18" x 24". This painting depicts extreme action and movement.
This painting is entitled, "A Serene Morning Amongst Friends", and is an 18" x 24" acrylic-on-canvas. This picture is a departure from my usual venue of subject matter and suggests a feeling of peacefulness and tranquility.
This painting is entitled; "Frolicking Friends", and is a 36" x 48" acrylic-on-canvas. I was looking for a feeling of excitement and happiness-of-freedom with this painting
. This painting is entitled; "Beauty In Motion" and is a 30" x 40" acrylic-on-canvas. A first attempt at an underwater scene, I was looking for a feeling of natural beauty and weightlessness that the undersea environment offers.
All of these paintings have been luxuriously framed and are ready for hanging. They can be purchased at my online store with the address of http://koolartoo.etsy.com, where a shopping cart is set up and purchases thru Paypal or by credit card or personal checks or money-orders are available. More photos can be provided if desired, just e-mail me with your enquiries at: amphibous_strutter@yahoo.com, and I'll respond.
Thanks for stopping by, check back often as I post new creations regularly, and have a great day.
Subscribe to:
Posts (Atom)
