| 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.