| Selling Your Art by Douglas Ready |
It's been said that the Commercial Artist generates income based on whom he knows, while the Fine
Artist generates income based on who knows him.
The division between so-called Fine Art and art produced for Commercial purposes becomes blurrier
with each passing day. Artwork originally produced as a stand-alone piece continuously shows up in
commercial venues; likewise, artwork originally produced for a specific commercial situation finds its way
into venues designed to appeal to the individual collector. A glance at one of the most commercial of all
art markets, the comic book publishing industry, quickly verifies this duality for the objet d'art: original
comic book art regularly sells on the collector's market for a higher per page rate than most publishers
pay the creators. It matters less and less whether the art found creation as a stand-alone piece or as a
means of communicating specific commercial information. Collectors seem determined to acquire art
from both categories and both signed checks result in art hanging on somebody's wall.
Directing Your Career
The artist must consider the possibilities inherent in his particular abilities and decide in what directions
he will focus his creative efforts. Commercial assignments will most certainly not find their way to his
studio unless they are directed there. For that matter, wall space to hang original art won't be revealed
unless those who manage the blank space are aware of the artist's availability.
Regardless of whether the artist decides to produce stand-alone pieces or whether he decides to pursue
some faction of the commercial market, he will need to focus promotional efforts on his areas of choice.
In today's splintered marketplace, it is no longer adequate to simply proclaim one's self an artist; one
must proclaim not only his talents and abilities, but his intent.
Maximize the Imagery
In order to realize the fullest potential financial return from his efforts, the artist must always consider
the widest spectrum of imagery placement.
Often, a work created as a stand-alone piece has the potential to increase the artist's income not only as a
sold original, but also as a print or poster, a greeting card or a collectable plate. The artist must fully
explore every possible financial exploitation of the imagery he creates and pursue those options. He
should especially pursue those options that offer continuing income in the form of royalties. This is
sometimes referred to as residual income and offers possibly the best chance of long-term financial
security for the artist.
Thinking Outside the Box
The goal of financial security is not achieved by a strident change of the artist's interest or focus. As
artists, we all have those areas of creation that excite us and our choices of mediums and subject matters
are dictated by that excitement.
Financial security is best achieved not by twisting our output to meet the demands of a perceived
market, but by allowing ourselves to consider every possible exploitation of the imagery we create.
Exploitation is a word with a somewhat distasteful reputation. I use it only in the context of
consideration of possibility, the exploration of different venues in which imagery may be displayed,
therefore generating a financial return.
Years ago, an artist friend of mine spend all his working hours producing ink drawings placed firmly
within the realm of the sword and sorcery genre. The imagery produced was striking, bold swatches of
black ink swirled to form muscular warriors and comely wenches and the occasional mythical beast.
James, dressed in Buccaneer boots and a white flowing Poet's shirt would set up at Street Fairs on
weekends. Tall, slender with a tapered goatee, his physical presence worked quite will with the images
he'd matted and framed and offered for purchase.
The problem was that the average household isn't really decorated to accommodate black and white
renderings of axe-wielding adventurers, no matter how appealing the scantily-clad slave girl tucked into
the corner of the picture. People would look and the comments were generally complimentary, but sales
were few and far between.
What irritated James more than the lack of sales was a comment heard often across the booth: "Wow!
I'd love that on a t-shirt!"
James considered himself a serious artist. Self-taught, his drawing and inking skills were among the best
I'd ever encountered. His pictures were mesmerizing.
They just didn't mesh well into anyone's living room.
James took his original art and matted and framed them in pre-cut materials to a finished size of 11" x
14". He sold those packaged originals for $150.
I pointed out that screen printing 25 each of his four most commented-on designs would cost him
somewhere in the neighborhood of $250. Selling the shirts at $10 each would bring in $1000, yielding a
$750 profit.
And, James would still own the original art.
Eventually, James moved into poster and comic book work. He published a popular series of children's
books featuring his own Fluffy, a cat-sized dinosaur. He also became a respected and much sought after
producer of Civil War prints.
Along the way, though, James sold some 7500 t-shirts.
Establish a Presence
Charisma is probably best defined as the ability to make others feel good about themselves. Charisma is
a necessity for the artist whose work demands a public persona.
Art buyers--especially art collectors--want to know they're dealing with a successful creative person,
and it's the artist's responsibility not to disappoint them. We enhance our ability to enchant the buying
public when we create a personal and individual characterization that invites imaginary partnership.
Promotion in Two Dimensions
The artist who is recognized as successful is one who understands the possibilities inherent in media
exposure. A key to success in any business is the simple fact that people know who you are and what
you do. Well, and probably where to find you if they have a need for what you do.
Every community has a structured communication system, a network of newspapers, magazines,
television and radio. The artist who learns to effectively utilize these tools on both the local and the
national level will find the task of generating an income from his work a much easier chore.
Press Releases
A press release is a most effective and vital means of communication. In our modern world of
multimedia, a newspaper still provides one of the best ways of sending a message out to the general
public. You can get your exhibition and product release announcements published regularly if you write
interesting, newsworthy press releases.
If you are just starting a relationship with a newspaper, you need to call the newspaper to find out who
to send a press release to, and what their deadlines are. You can send the release to a particular person,
or you can simply send it to the Managing Editor.
Newspapers receive massive amounts of print material daily, and editors have to pick and choose what
information is really of interest to their readers. An editor would much rather read a good press release
than get a call and a request for a time-consuming meeting. Although it is always good to develop a
rapport with your local press, you need to walk a fine line between making and maintaining a relationship
with an editor, and making a pest of yourself.
Don't call an editor just to find out if your press release arrived--assume it did. If you aren't getting
enough press coverage, it probably means your press releases are weak, and you need to work on your
writing skills.
A press release should be typed or word processed on an 8 1/2": x 11 " paper. Provide wide margins and
double-space the copy. Use your business stationery--white paper, not some off-color stock that might
prove difficult to read.
Use letterhead stationery or type the name, address, and telephone number of your organization, single-
spaced, in the left margin of the page. This is the source of the press release. Also include the publicist's
name and telephone number. This is the contact. If you do use a letterhead, but be sure to remember to
include the contact's name and phone number.
If you need to promote something that is extremely time-sensitive, write specific details, such as
RELEASE JANUARY 21. It is also a good idea to suggest a headline. Although your headline might not
be used, it immediately tells the editor, at a glance, what is the most important element of your press
release.
The first sentence of your press release must be short and succinct, and get the message across in one
fell swoop. Generally speaking, you'll use the first sentence to get the message out and one or two
additional sentences to fill in the details. A press release is an announcement, not the Book of the Month.
Sometimes, your press release will require photographs. Be sure that every photo you send has a typed
caption with appropriate identification information adhered to its back. Do not paper clip or staple the
photo to the press release, just toss the photo into the envelope with the press release.
Editors are inundated with press releases. It's a good idea to send a thank-you letter to the editor who
places your press releases in the paper. The day will come when you'll want the editor to place your next
press release.
Television & Other Media
Most local television and radio stations have some kind of segment that allows the announcement of
items of interest. Present your announcement to these venues and locally published magazines in the
same manner you'd approach the newspaper editor.
More importantly, most every television station broadcasts a local talk show. An appearance on local
programming lends an air of celebrity to the artist, an unquestionable asset to the artist with a new
exhibition or a new poster release.
A quick call to your local television station will identify the proper party to send your press release to.
State simply that you'd like to appear on the program and list several reasons why you think the
audience would have an interest in your appearance. If the producers are interested, you'll usually
receive a telephone call--in actuality a screening interview. With a little luck, you'll be invited to the
station for an exploratory interview to determine your suitability for inclusion as a program guest.
Most local cable television concerns host a Public Access broadcast channel. Public Access is a system
mandated by the Federal Communications Commission to help assure media access to those who might
normally be denied such access. Most every television cable company is required by law to provide
facilities and training to those interested in producing their own television show. If your personality is
such that hosting a self-produced weekly half-hour television program might be an enjoyable pursuit, the
promotional opportunities should be obvious.
Douglas Ready
©2006 Serendipity Press. All rights reserved.