Each week, Eric Rhoads answers two art marketing questions from listeners like you during the Marketing Minute Podcast. Browse the marketing minutes here to learn tips on how to sell more art.

Art Marketing Minute Podcast: Episode 50

In the Art Marketing Minute Podcast, you’ll learn how to sell your art, how to market your paintings, and everything else you need to know in order to have a successful art career. Each episode answers questions from artists by host Eric Rhoads, author of “Make More Money Selling Your Art,” publisher of several art magazines and newsletters, and author of ArtMarketing.com.

In this Art Marketing Minute, Eric Rhoads shares how to know if your website is up to par in order to effectively sell your art, and understanding why collectors might pass on your work even when they compliment it.

Listen to the Art Marketing Minute Podcast: Episode 50 >

 

Submit Your Art Marketing Question:

What questions do you have about selling your art? Email Eric today at [email protected] (include your name and where you’re from) to hear your question answered on an upcoming Art Marketing Minute Podcast.

FULL TRANSCRIPT of the Art Marketing Minute:
DISCLAIMER: The following is the output of a transcription from an audio recording of the Art Marketing Minute. Although the transcription is mostly correct, in some cases it is slightly inaccurate due to the recording and/or software transcription.

Announcer 0:02
This is the Art Marketing Minute with Eric Rhoads, author of the Amazon best selling book, “Make More Money Selling Your Art.” In the marketing minute we answer your questions to help your art career brought to you by artmarketing.com, the place to go to learn more about marketing. Now, here’s your host, arts magazine publisher, Eric Rhoads.

Eric Rhoads
Thank you Jim Kipping and in the marketing minute I try to answer your questions. I do answer them. I don’t know if I answered him well, but you can email your questions to me [email protected] And here’s a question from Robert, in Norfolk, Virginia, who says I know it’s important to have a website. So I do have a simple one. But how do I know if it’s good enough? Well, the way you know that, Robert, it’s a great question. You can’t know if it’s good enough unless you know what its purpose is and when What the purpose is going to use and how it’s going to serve you. So you need to know how you will measure success, right? So some websites are there to get your work seen others are there to sell work. Others are there to gather names of potential customers, there’s a lot of different strategies you can take. But you want to start with your goal in mind. All right, so if I’m building a website, what do I want to do? I’ll in my particular case, I wanted to communicate information and then I’ve got to make sure that I’m gathering names and so I, I oftentimes offer a free incentive of some kind. So somebody has a reason to, to offer me their email address and they can get on my newsletters or whatever I’m offering at the time, but you want to start with a goal in mind and then determine what is success now if I have a website and I get no visitors, it’s not a success. How many visitors Do I need and want How many? How easy is it to find my stuff? How is how many names do I want how you know what kind of sales Do I need or you know what’s considered Good sales from your website, you know, if it’s costing you money, and it’s not bringing you any value that’s of no value to you really, you know, it’s kind of like imagined, in the old days, we had what we call phone books, you probably remember those some of you do. And, you know, there were, you know, three inches thick in a city like New York, probably, you know, six inches thick of phone book with thousands, 10s of thousands, millions of names in it, and addresses. And, you know, it doesn’t do you any good to be in the phone book unless somebody’s looking for you. And so you’ve got to find a strategy to make them want to look you up. There are literally probably hundreds of millions, if not billions of websites now. And so the question is, how do you get them to find you? What’s your discovery tool? How are they going to find you? What What do you want them to do when they get there? What actions do you want them to take? So I can’t really answer your question about how, whether or not it’s good enough, because good enough is defined by your goals. And so you first got to start out with your goals, then.

Next question comes from Katrina Gorman in San Antonio, Texas. Katrina has sent us a whole bunch of questions. We like her a lot, because we like questions. Here’s one of them that she sent. And she says, if people tell you over and over, they love your work. But you notice these same people are buying work from another artist, what’s a good way to find out? Why, or should you not even worry about it? Well, Katrina, I think first off, people are generally good. And they mean to compliment you because they, it may not be an expression of interest, they may they may genuinely like your work, but they don’t want to own it. Or maybe they’re complimenting you a lot, because maybe they’re thinking you’ll give it to them. I mean, that could be possibility. But liking something and wanting to own it or different things. Owning art is very special, something that speaks to really only just one person, if there’s one original, it’s for one person, so sometimes it needs to find the right buyer. Now, I wouldn’t overthink this, you know, appreciate the compliments, pay attention. If the complements are over the top or come in frequently or a lot on a particular piece, because then you can kind of take it to the next level. So you can find a way to ask, you know, maybe so you don’t put them on the spot. You don’t you don’t have to say, Hey, would you like to own that? Because they might, you know, they might not know how much it would cost or be embarrassed if they can’t afford it or whatever. But you can say, you know, the old remember, I’ve got a friend who is asking for me kind of thing. You know, you could say, Do you know anybody who would love to own it, I’d like to find it a loving home. And if you happen to know somebody who would love to own it, you know, I’m trying to get, you know, certain amount of money for it. And you know, if you know, or you might say, you know, you you seem to like the slot, do you have interest in it? And if you do, tell me what you’re thinking about in terms of what you’re thinking about paying, you know, the reason to do that is because they could be thinking about $1 and you could be thinking about $100 or they could be thinking about 200 And you could be thinking about $100 and so the nice thing to do is just to say you know what, what have you got in mind? And if there’s a big gap then that’s gonna make it a little uncomfortable you can say wow, you know I was hoping to get $100 and you’re only willing to pay $5 you know please understand I need to make a living on this and so you know if you want to come up a little bit maybe I can come down a little bit but please know that you know, I’ve got to get a certain range and I’m sure you understand that this is how I make my living. So anyway, you can keep it third party by saying you know if if you know somebody who thinks it’s a fit, you know, that kind of thing or you can just be honest and say hey, you know, what are you thinking I noticed you bought some other art you seem to be interested in this but you haven’t. You haven’t expressed interest in buying it if you want to buy it that’d be cool with me we can figure that out. You know, sometimes just straight out upfront, be honest as possible is probably the best way. A lot of people play games. I don’t like to play games anyway. I’m paying attention to signals as well. important though, you know, if people if you’re in a gallery setting, and people go back and look at it a couple times, if they’re talking about it, or if they’re looking deeply, you know, look for things that they’re showing signals of interest. And then you can engage them, you know, maybe you don’t say, hey, do you want to buy it? That’s a little awkward, but you can say, Hey, does that painting remind you of anything? And maybe they’ll say, yeah, when I was a kid, there was this mountain with a river going through, you know, that kind of thing. And so you can look for ways to deepen that conversation. So they tell you that you said, Well, tell me a little bit more about that, you know, well, I really had this wonderful childhood, you know, when I visited my grandparents, and that house in the painting reminds me of my grandparents really tell me more and you know, so they’ll, they’ll deepen, and as they deepen, they will tend to deepen their commitment and interest and talk themselves into it because sometimes people just need to talk themselves into something you can’t ever talk anybody into anything. Don’t even try. It is not it’s not in in your DNA. It’s not an My DNA you know, I might, if I see somebody is interested in something, I might highlight something, but I’m not, you know, I can’t twist somebody’s arm and talk them into something. I mean, you don’t want to be that person. You don’t want to be talking people into things that they don’t want.

Well, this has been the art marketing minute with me. Eric Rhoads. My goal in life is to eliminate the idea of the starving artists to help your dreams actually come true. So if you want to submit questions, simply email [email protected] And to learn more about marketing ideas, you can visit Artmarketing.com. Thanks for listening.

How to Submit Your Art Marketing Questions: What questions do you have about selling your art? Email Eric today at [email protected] (include your name and where you’re from) to hear your question answered on an upcoming Art Marketing Minute Podcast.

By |2021-01-04T14:02:24-05:00January 11th, 2021|Art Marketing Minute Podcast|0 Comments

Art Marketing Minute Podcast: Episode 49

In the Art Marketing Minute Podcast, you’ll learn how to sell your art, how to market your paintings, and everything else you need to know in order to have a successful art career. Each episode answers questions from artists by host Eric Rhoads, author of “Make More Money Selling Your Art,” publisher of several art magazines and newsletters, and author of ArtMarketing.com.

In this Art Marketing Minute, Eric Rhoads shares tips on how to become popular with galleries and collectors, and tips on when you should enter an art competition.

Listen to the Art Marketing Minute Podcast: Episode 49 >

 

Submit Your Art Marketing Question:

What questions do you have about selling your art? Email Eric today at [email protected] (include your name and where you’re from) to hear your question answered on an upcoming Art Marketing Minute Podcast.

FULL TRANSCRIPT of the Art Marketing Minute:
DISCLAIMER: The following is the output of a transcription from an audio recording of the Art Marketing Minute. Although the transcription is mostly correct, in some cases it is slightly inaccurate due to the recording and/or software transcription.

Announcer 0:02
This is the Art Marketing Minute with Eric Rhoads, author of the Amazon best selling book, “Make More Money Selling Your Art.” In the marketing minute we answer your questions to help your art career brought to you by artmarketing.com, the place to go to learn more about marketing. Now, here’s your host, arts magazine publisher, Eric Rhoads.

Eric Rhoads
Thank you Jim Kipping. And you know that book. It just keeps surprising me because it keeps selling on Amazon and other places. It’s like every time I turn around, they’re selling out we have to print more and so that’s a pretty cool thing. It’s a nice feeling. Thank you for making that happen. My goal in the marketing minute is to answer your art marketing questions and you can email me anytime [email protected] a.nd try to use your name and your town so I know who you are. It’s a little easier that way. This one is from Jesse. I don’t know if that’s a Jessie she or he in Jesse in Santa Fe who says if I want to become a big name, the kind of artist who’s getting invited to all the best shows the best galleries and getting pursued by people. collectors, how do I do it? Well, Jesse, that is a great goal. It’s very doable. But it is a process and you have to look at marketing as a process. You know that all great things take time, nothing happens quick nothing happens overnight. persistence and consistency are important. I can spend hours on this topic alone i have i’ve spent hours and hours and hours on it in my videos and talk a lot about it in my book, I talk a lot on artmarketing.com, you know, with a lot of ideas and things that you can use. I don’t have enough time to do that here. But you need to spend as much time and effort as possible getting great as an artist you want to be as good as you possibly can be. But at some point, you got to just get out there. And you need outsiders to give you advice on when your work is ready to be promoted. And then you need to know that this is a lifetime commitment that if you’re going to continue to sell paintings or try to sell paintings, you’ve got to be committed to a lifetime of marketing. Next you need to start getting noticed a great thing to do is to end As many art competitions as possible, like the plein air salon or the artists and selfie competition, and and get some wins under your belt, even if you’re a category winner, it doesn’t have to be the grand prize you can be a runner up, you can be a second place a third place a fifth place, it doesn’t matter. What you need is something to help building your brand help you help you build your brand and have something to talk about put on your resume branding is the big thing. A known artist is an invited artist, a known artist is a higher priced artist. The more you repeat your visibility campaigns, the more you get noticed, branding is a lifetime commitment, as I said over and over and over and over again for years. Now you can speed it up with with some advertising and things like that. But you also need time. You need publicity, you need shows you need to do things that stand out, get noticed. Sometimes it’s controversy. Sometimes it’s you know, awards. I talked a lot about this and the things that I just mentioned the books and the videos just keep pounding that marketing drum. Time cannot be completely overcome, but advertising can help you speed awareness. And then you just got to keep building on that awareness.

Now the next question comes from Cindy in Bar Harbor, Maine Who says I see a lot of art competitions, but I don’t know if I should ever enter them. Which ones I should enter? Cindy, it’s a great question. The answer is Yeah, or no. There are a lot of great competitions and prize money is nice, but it’s not a reason to enter anything. I know that sounds awkward. But if you want to enter art competition, you want to win something that’s going to further your career. For instance, many art magazines like mine, Fine Art Connoisseur does artists and selfie competition, Plein Air magazine does the plein air salon competition. And though we have big prize money and a lot of other prizes, what you really want to do is end up with validation. You want to end up with something you can talk about, and most importantly, you want to end up with publicity. So if you got an award, let’s say you got the main weight award from Plein Air salon, you know, we’re doing stories about you, we’re putting you on the cover of the magazine, we’re doing stories about the people who are the the secondary, and third winners and so on. We’re doing stories about category winners. And so you’re getting publicity. And publicity is more valuable than money. I know that seems odd. But you can’t necessarily buy publicity. You can buy advertising, but you can’t buy publicity. And so when you get that opportunity, it’s more valuable. So it’s okay to apply to things that just have prize money and you know, but if they’re, if they’re not going to be able to promote you by giving you articles and things, maybe they’re giving you articles to their list of other artists, but you want to be seen by collectors, you want to be seen by gallery owners. And so, you know, if you win from something like a National Art magazine, like ours or others, then you’re going to be seen by a lot of people by a lot of the right people, museums, collectors, galleries, etc. The key is to enter and then to milk When What I mean by that is that even if it’s a small category, like a still life category or Nocturne category, they don’t get very many entries. And so you might have a better improve chance and a smaller category. Although sometimes you enter the same painting in two or three categories if it’s a fit, and then you want to do press releases, you know, Eric Rhoads just won the best doctor in painting for this national competition, you know, you want to put it on your website, your business cards, everything. I just did a full hour YouTube video on this and you can find it by going to YouTube and searching streamline art video, and look for the one that talks about how to win art competitions. A good marketer looks at every opportunity and asks if there is value to be obtained for it. You could look at it as something to build credibility. You can tell others about it. You can use it to build your list, whatever it is, so don’t focus on the money. Big prizes are nice. But the real thing that you know, I’ll tell you something that the cover plein air magazine is worth a whole lot more than $15,000. To your to your career. I mean, I’ve watched careers launch because they won the plein air salon competition. I’ve watched people go from locally known to nationally known and getting invited to everything. And that’s happening because they’re on the cover that’s happening because they’re featured. It’s not so much happening because they won the $15,000. But that’s getting them there. So think in terms of what can do what you can do to help build your credibility. And I hope that I hope that makes sense. Anyway, if it doesn’t make sense, it should make sense.

Well, this has been the art marketing minute with me. Eric Rhoads. My goal in life is to eliminate the idea of the starving artists to help your dreams actually come true. So if you want to submit questions, simply email [email protected] And to learn more about marketing ideas, you can visit Artmarketing.com. Thanks for listening.

How to Submit Your Art Marketing Questions: What questions do you have about selling your art? Email Eric today at [email protected] (include your name and where you’re from) to hear your question answered on an upcoming Art Marketing Minute Podcast.

By |2021-01-04T07:53:21-05:00January 4th, 2021|Art Marketing Minute Podcast|0 Comments

Art Marketing Minute Podcast: Episode 48

In the Art Marketing Minute Podcast, you’ll learn how to sell your art, how to market your paintings, and everything else you need to know in order to have a successful art career. Each episode answers questions from artists by host Eric Rhoads, author of “Make More Money Selling Your Art,” publisher of several art magazines and newsletters, and author of ArtMarketing.com.

In this Art Marketing Minute, Eric Rhoads shares ways to “do your homework” when it comes to getting your art into a gallery, and tips for making commission sales.

Click Here to Listen to the Art Marketing Minute Podcast: Episode 48

 

Submit Your Art Marketing Question:

What questions do you have about selling your art? Email Eric today at [email protected] (include your name and where you’re from) to hear your question answered on an upcoming Art Marketing Minute Podcast.

FULL TRANSCRIPT of the Art Marketing Minute:
DISCLAIMER: The following is the output of a transcription from an audio recording of the Art Marketing Minute. Although the transcription is mostly correct, in some cases it is slightly inaccurate due to the recording and/or software transcription.

Announcer 0:02
This is the Art Marketing Minute with Eric Rhoads, author of the Amazon best selling book, “Make More Money Selling Your Art.” In the marketing minute we answer your questions to help your art career brought to you by artmarketing.com, the place to go to learn more about marketing. Now, here’s your host, arts magazine publisher, Eric Rhoads.

Eric Rhoads
I answer your questions and you can email your questions to me, [email protected] I’d like to know your first name and where you’re from, and if you want to use the last name, that’s good too. Some of you want to remain anonymous. It’s okay. But I like to have names. Here’s a question from Robert and Boise, Idaho, Sue says I’ve consistently emailed images to many galleries and they’re unhesitatingly reply. That’s a good word on hesitant is that my work is beautiful, lovely, but not interested in the style. What should I do? Well, first off, nobody’s going to tell you if your work is awful, nobody wants to hurt your feelings. And if they don’t like it or they feel it’s not living up to par, never going to tell you that there’s no reason for them to do so. They don’t want to hurt you. And so oftentimes they just say, it’s not a fit. They’re not interested in your style or whatever. Robert, no offense, but you are making the ultimate blunder. Have you not been listening to the podcast? If you’re not been listening to all the discussions about getting into galleries, maybe not. Anyway, I’m not trying to scold you galleries typically do not want random artists submissions. They get literally thousands of them. It’s annoying to them. It takes their time. Most of them are bad, even if they’re good, they just, you know, they’ve got what they want and they’re going to seek what they want. And so don’t necessarily solicit them. That’s the big number one mistake, do not go and visit galleries and ask them to look at your work. Do not send them emails, do not send them packages in the mail. They do not want that. And there are a lot of different issues here, but this is not the way to get into a gallery and you don’t want to annoy them. And of course they probably won’t remember you anyway, because it gets so many. But sending things to them is not their style. So start by doing your homework. Have you looked at their website to see what kind of work do they sell? You know, if you’re sending an abstract gallery, a bunch of realism or vice versa and you don’t fit, you’re wasting their time. So know your gallery before you do that. Furthermore, like I said, solicitation is the mistake. You don’t want to do that. The odds are stacked against you when you do that. So go back and listen to the podcast I did with Jane Bell Meyer. Recently, she talks about very specifically how she selects artists. And she goes after artists who are advertising and promoting themselves and she’s watching them and seeing how they promote themselves, they watch their work and see how it develops. In other words, you’ve already gotta be marketing yourself before you’re going to get pulled in and you’re thinking, well, well, I don’t need a gallery. Then we’ll share you. Do you need, you need all the help you can get. We all do so be patient and learn about marketing. Read my book, read my, watch my videos, watch the YouTube videos I put out there at streamline art video. And just remember that this is a process you want to get invited in. You want to make sure that you look for ways to get invited in. And I’ve got a whole bunch of strategies on that.

The next question comes from Katrina Gorman in San Antonio, Texas. Katrina sent us a couple of questions lately. Thank you, Katrina. This is a commission request question. Our cold calling cold calling by the way means, you know, contacting someone who doesn’t know who you are. They’re not aware of you. They’re not interested. Cold calling, right? Warm calling would be somebody who’s interested in you, but Cole are cold calling and emailing businesses to make them aware of your artwork effective. To let them know you are open for commissioned work or making a letter to send that to them directly. I remember this in art marketing boot camp, but I wasn’t really, I didn’t really see which way would be better to you as well. Katrina. I just did a long video on YouTube. I’ve been doing every day. I’ve been going online at noon on a social media, Facebook live Instagram and YouTube. And I have been doing videos on our marketing. And depending on when you’re listening to this, I might still be doing them, check them out. But I just did one on how to get commissions and it’s on YouTube. I know cause it’s fresh in my mind. I just did it a couple of days ago, but it’s worth finding it at streamline art video on YouTube. The commission marketing is like all marketing. It requires a strategy, a target, a plan and artists who do commissions can make it a very high percentage of their income and make a lot of money on commissions. If you do it right now, all marketing is not a single item, like a single letter or a single email. Usually like all things, it takes repetition. And so you’ve got to have repetition, but first you need to know your customer. Do your research find out about these businesses. If you’re going after businesses, what do they have in their offices or their buildings in their lobbies? What kind of art do they have are, do you think they’re opening up new locations? Look for things that you think will be a fit. So you don’t waste a lot of time on mail or email or otherwise. Also commissions are a really great way to upsell people, to leverage existing customers into more purchases because everybody’s got a special occasion or an event. And you know, you might be doing a house portrait or a portrait of somebody or something for a business. You just never know. But if you’re going to cold call, make sure you eliminate your waste by doing your homework. Find out about commissions also from various city and government associations. They’re doing commissions all the time. But look for the people. You know, the people you have contact with, that’s going to give you your very, very best opportunity for selling commissions.

Well, this has been the art marketing minute with me. Eric Rhoads. My goal in life is to eliminate the idea of the starving artists to help your dreams actually come true. So if you want to submit questions, simply email [email protected] And to learn more about marketing ideas, you can visit Artmarketing.com. Thanks for listening.

How to Submit Your Art Marketing Questions: What questions do you have about selling your art? Email Eric today at [email protected] (include your name and where you’re from) to hear your question answered on an upcoming Art Marketing Minute Podcast.

By |2020-11-30T11:04:35-05:00December 28th, 2020|Art Marketing Minute Podcast|0 Comments

Art Marketing Minute Podcast: Episode 47

In the Art Marketing Minute Podcast, you’ll learn how to sell your art, how to market your paintings, and everything else you need to know in order to have a successful art career. Each episode answers questions from artists by host Eric Rhoads, author of “Make More Money Selling Your Art,” publisher of several art magazines and newsletters, and author of ArtMarketing.com.

In this Art Marketing Minute, Eric Rhoads explains why it’s important to “build your brand,” and what to do if your sales have slowed down.

Click Here to Listen to the Art Marketing Minute Podcast: Episode 47

 

Submit Your Art Marketing Question:

What questions do you have about selling your art? Email Eric today at [email protected] (include your name and where you’re from) to hear your question answered on an upcoming Art Marketing Minute Podcast.

FULL TRANSCRIPT of the Art Marketing Minute:
DISCLAIMER: The following is the output of a transcription from an audio recording of the Art Marketing Minute. Although the transcription is mostly correct, in some cases it is slightly inaccurate due to the recording and/or software transcription.

Announcer 0:02
This is the Art Marketing Minute with Eric Rhoads, author of the Amazon best selling book, “Make More Money Selling Your Art.” In the marketing minute we answer your questions to help your art career brought to you by artmarketing.com, the place to go to learn more about marketing. Now, here’s your host, arts magazine publisher, Eric Rhoads.

Eric Rhoads
All right, well in the marketing minute I try to answer your questions and you can email me anytime [email protected] By the way, that’s a great resource. Lots of articles there. Also go to YouTube and search streamline art video, I’ve been doing marketing videos every day at noon live and you can listen through the announcements and then get to the meat of it. There’s a lot of good stuff there. Lots and lots of new stuff that I’ve never published before or talked about before. So here is a question and this question comes from Tony in Newport, Rhode Island who says we hear a lot about building brand and I don’t think most artists consider themselves a brand. Why is that really important? Well, ask yourself this question quickly. Tony, who is the top actor in Hollywood who’s the top Female Actor in Hollywood? Now ask yourself who’s the top actor, male actor You know who’s the top leading man? You’re probably coming up with just one or two or three names, right? I’m guessing Brad Pitt or maybe George Clooney, you know, something like that. Right? So now let me ask you this, who’s the top guitarist in the world? Or who’s the top blues guitarists in the world are Who do you think of as the best motivational speaker on earth? You know who gets big crowds and motivational speaking? When I asked you about a TV to host who teaches cooking? Who do you think you see professionals in various categories have become brands, not only is McDonald’s or Coca Cola, or subway a brand so as Tony Robbins or Eric Clapton or Martha Stewart or Brad Pitt, you know some of these kind of people, and you see people become brands even without trying. Now most of the brands have been built by excellent marketing and excellent professionals. Most of these Hollywood people have really terrific marketing people behind them. A And so on who worked with marketing people, but you get known as a brand, whether you like it or not you, you need to be able to control that brand so that you are controlling how people think of you, hopefully. And of course, a lot of that depends on your work. But it also depends on your behavior. It depends on your comments on Facebook and your you know, all the different things. And I see artists making that mistake all the time, destroying their reputations because of things they’re saying on social media. And so you got to be careful about that brand is about trust, it’s about standing for something, it can be standing against something, you know, your brand might be, you know, you’re very political and you want to be talking about politics all the time. Well, you can do that. And that will become your brand and that’s standing against something but you also have to know that that could hurt your brand. And so people who do branding tend to stay away from polarizing topics because they don’t want to hurt any they don’t want to lose business. But I guarantee you if the great artist Howard Terpening, the western An artist who sells for you know, million dollar paintings. If he painted something, signed a different name onto it, put it into an auction, it would sell for a fraction of the price of the work with his name on it. You see, quality doesn’t always rise to the top alone. Quality is important and I want to re emphasize that, but you become known for your quality and then your name helps sell. Now Jeremy Lipkin, for instance, is one of those names. He is the john Singer Sargent of our times. He’s incredible. And I know artists who paint almost equally as good as Jeremy. They copy his style, they copy his work, they even copy his signature, but their work doesn’t sell for a fraction of the price. Why is that? If I can get a painting that’s almost equally as good. Well, it’s not as good because it’s not a lip King. It’s just the same as if somebody says to you Well, I you know, I can give you a car that looks exactly like a Rolls Royce or Mercedes Benz But it’s not a Rolls Royce. It’s the name the brand matters. It’s It’s It’s about quality, but it’s also about status. Smart artists understand that if you don’t let others control your brand, it will be controlled for you. You’ve got to take control and make sure that you’re known. build your brand. And it impacts everything about you impacts where you get invited, what shows you’re in, your collectability your value, the articles, you get the prices, you get, all of those things contribute to your brand. So you’ve got to be thinking about your brand is simply not paying attention to just the way that artists sold. I you’ve got to think in terms of how my brand impacts my sales. You know, I know lots of brilliant artists who are absolutely completely unknown and they can’t sell anything and they don’t understand why and I keep telling them, you got to build a brand you got to get known. You know, there are people who will buy quality, but they like to buy quality that’s associated with a big name. So have your name become Your brand. I also know brilliant artists who sell well, because of their branding ability in their art isn’t necessarily as good. But the best combination, of course, is to be a brilliant artist with a brilliant brand. And then that’s the best thing of all. Hope that helps.

The next question is from Sarah in Salt Lake. Sara says my sales have been slow recently. Is there any reason anything special I should be doing? Sarah? Let’s assume you go to the doctor and you say, Doc, I’ve been having headaches lately? Is there anything special I should be doing? A good doctor is going to ask you a series of questions to get to the root of the problem the cause, she wouldn’t just say, well, you’re having headaches, you must be smoking too many cigarettes. Or she might say you’re eating too many minutes? No, she’s gonna find out what’s causing the headaches because there could be 1000 different answers to that question. So when I hear a question like that, I know it can be a lot of things and you have to ask yourself questions and dig into your So you’ve got to ask yourself what is what has changed? What am I doing differently? You know lately because of COVID you know COVID has suppressed art sales and some people and made it bigger and others it might be related to that you know so what am I doing differently? What am I not doing that I was doing? Am I promoting or advertising how I stopped doing that was a you know, what did I have articles and now I don’t have them has my presentation or my work changes? My painting is good. Am I overworking things are under working things. If I change styles, I watched an artist who was known for a particular type of painting, he decided he didn’t want to do that anymore. He did this big art show and nothing sold. So because people were used to kind of what he became now he ultimately overcame that but you have to understand sometimes you’re going to go backwards before you go forwards especially if you’re changing things up. If you don’t put gas in your car, it will eventually sputter and then it will stop if you not putting gas in your marketing. It too will sputter and stop your sales will stop as an artist you have to adopt a lifetime of marketing. You know that as long as I’m here to sell paintings, I’m here to do marketing. It’s a reality you may not like it, but it is a reality. And I know that as long as I’m in business, if I’m not telling people about my events like the plein air convention or plein air live, or the figurative art convention, or my magazines, planner magazine, or Fine Art connoisseur magazine or my newsletters, you know, fine art today or plein air today or realism today, or American watercolor are my videos you know from lilla dollar streamline, or creative catalysts, then they will stop selling it’s a constant game of putting it out there repeating it telling people about it, never backing off, always continuing to keep it out there and you always have to look for new and creative ways to get noticed because people get used to the same things all the time. So if I need to speed something and sell more than I have to add more gas to the fire. The same is true marketing is pretty easy when you think about it. It’s about making the invisible visible. And it’s about keeping it visible most artists, and I don’t like to categorize anybody in any way, but most artists tend to think, you know, they put themselves out there one time and that’s enough. Well, you know, having one show isn’t usually enough, you got to do a lot of things. You got to build a lot of awareness. You got to invite a lot of people, you got to stay in front of them all the time. Always ask yourself questions. The answers are always in your questions. Anyway. I hope that this has been helpful.

Well, this has been the art marketing minute with me. Eric Rhoads. My goal in life is to eliminate the idea of the starving artists to help your dreams actually come true. So if you want to submit questions, simply email [email protected] And to learn more about marketing ideas, you can visit Artmarketing.com. Thanks for listening.

How to Submit Your Art Marketing Questions: What questions do you have about selling your art? Email Eric today at [email protected] (include your name and where you’re from) to hear your question answered on an upcoming Art Marketing Minute Podcast.

By |2020-11-25T08:56:14-05:00December 21st, 2020|Art Marketing Minute Podcast|0 Comments

Art Marketing Minute Podcast: Episode 46

In the Art Marketing Minute Podcast, you’ll learn how to sell your art, how to market your paintings, and everything else you need to know in order to have a successful art career. Each episode answers questions from artists by host Eric Rhoads, author of “Make More Money Selling Your Art,” publisher of several art magazines and newsletters, and author of ArtMarketing.com.

In this Art Marketing Minute, Eric Rhoads shares what to say to a potential buyer to keep them engaged, and where to start if you’re brand new to marketing your art.

Click Here to Listen to the Art Marketing Minute Podcast: Episode 46

 

Submit Your Art Marketing Question:

What questions do you have about selling your art? Email Eric today at [email protected] (include your name and where you’re from) to hear your question answered on an upcoming Art Marketing Minute Podcast.

FULL TRANSCRIPT of the Art Marketing Minute:
DISCLAIMER: The following is the output of a transcription from an audio recording of the Art Marketing Minute. Although the transcription is mostly correct, in some cases it is slightly inaccurate due to the recording and/or software transcription.

Announcer 0:02
This is the Art Marketing Minute with Eric Rhoads, author of the Amazon best selling book, “Make More Money Selling Your Art.” In the marketing minute we answer your questions to help your art career brought to you by artmarketing.com, the place to go to learn more about marketing. Now, here’s your host, arts magazine publisher, Eric Rhoads.

Eric Rhoads
All righty. Well, in the marketing minute I try to answer your questions. There are no stupid questions, just stupid answers and those would be coming from me anyway. Just to Tell me your name and your town and submit it by email [email protected] All right. Here’s a question from Katrina Gorman, from San Antonio, Texas who asks What advice can you give to help follow up conversations with a collector or a potential buyer? If somebody is interested in your work? And they say they need to think about it. When should you follow up with them? And how many times are too many to follow up without feeling like you’re bugging them? If you can’t reach them? Well, Katrina, you’re not gonna love what I have to say here. I’m sorry, I’m you kind of hit a nerve. I know that you’re This is going to hurt but when some when you’re approached by somebody, let’s say you’re in a store and somebody approaches you and says, Can I help you? What do you say? Just looking? So what do you say when you want to not buy something? You say? I need to think about it. That is a story. Doc term, we all use it, I need to think about it. You don’t want to lie to somebody, you don’t want to hurt their feelings. And so you say, I need to think about it. Well, those words are the kiss of death. When you hear those words, you are almost dead in the water. I say almost because I’m going to teach you some moves. But anyway, if they need to think about it, they’re probably not interested. Now, they might be but maybe they don’t want to be pressured. Maybe they do want to think about it. But usually, it’s a way to escape. Now, I’m going to show you a couple of things that are effective. It’s going to take some courage you ready for this? Katrina? Well, first off, you say this, then I’m going to give you a little roleplay here. So it’s you, you say, Are you interested in this piece of art? And they say, Well, I don’t know. I need to think about it. And then you say, Well, tell me about it. Tell me about it. And what are you thinking? And they’ll say something, all right. So the idea is just say when they say I need to Think about it. So well, they’ll tell me about it. And and that’s a tool you can use. And by the way, you keep somebody talking for an hour by that you can say, you know, tell me about it. Tell me more. So they say, you know, let’s say, I need to think about it. You say, tell me about, well, I’m not exactly sure you know where I would hang it on, you can say, hang it, tell me more. And they go, Well, you know, it’s kind of thinking about, should I hang it in the living room or the bedroom and you go, Well, what do you think? Well, I don’t I kind of think it’d be best in the bedroom. Okay, why do you think that? Well, because I’d like to wake up in the morning every morning and look at that, because it’s such a beautiful painting. It’s such a beautiful view. And then you can say beautiful view. Oh, yeah, I love the view. And I would really love to have that. What happens when you do that is that you don’t have to pressure anybody. But what you do is you keep them talking and then you find that you’re able to kind of lead them along so that they take themselves Next thing you know this, like, you know what, I think that is a beautiful view, I think I would like to look at it in my bedroom every morning, and I think I will buy it. That’s one thing. Now, you can also ask them for feedback. You know, tell me more. Tell me more about that. And you’re peeling back the onion. And eventually most people will give you the real truth. And usually the real truth is, I don’t like it or I don’t love it or the price is too high or something like that. Now you can, you can say this one, this one takes a little bit more courage. They say I want to think about it. You can say, you know, forgive me for saying this. But when most people tell me they want to think about it, but they really mean is that they’re not interested but they don’t really want to hurt my feelings. If that’s the case, I’m okay with it. Believe me. I don’t believe in pressure. But the problem is if you tell me what to think about it, and you’re not really interested, I’m probably going to be following up with you. I’m going to call you and you’re going to be hiding out not taking my calls and I’m just gonna keep calling And you’re gonna keep finding messages from me. And you know, I don’t want to really waste your time. And I know you don’t want to waste mine. So if if you’re really not interested in it, just go ahead and tell me that you’re not going to hurt my feelings. And so which is it? Are you simply not interested? Or do you really truly need to think about it? Well, if they say, No, I’m simply not interested. That’s cool. You say, Well, thank you for your honesty, I really appreciate that. And I hope we can do business sometime in the future and then let it go. But if they say, No, no, I truly do need to think about it. And then you can say, Well, what exactly do you need to think about? Maybe I can help you answer some questions, or you can use those moves I told you about before. And then don’t say anything. Just Just be quiet and listen. Now another thing you can do when they say they need some time to think about it, you can say that’s terrific. How much time do you need and when should I follow up with you? Because I don’t want to be a pest. And then they’ll tell you well, you know, you can text me and text me by Thursday, I’ll have an answer. Now, whenever somebody escapes, you’re not going to sell them. Most people who leave Don’t Come back and buy. But then you can try to do some things to keep them coming back or thinking thinking about them. But you could say something like to try to get them into say, you know, what, what could we do today? What if What could we do to make this happen today? Because I know quite frankly, you know, if you walk out the door, the chance of you ever owning my painting, I’d really love to see you own it. You know, you love it, you think it’s cool. So what could we do to make this happen today? And then sometimes they’ll say, Well, I don’t know, you know, maybe if you, you know, knock a few bucks off the price or you do something, you know, maybe they could do that. Or you could you could, you know, try something and if you get a sale, it’s better than not getting a sale. Now, regarding your question about how many times do you follow up most people give up too soon. I have had if I have something important pending, I’ll usually never stop. I will try lots of interesting ways to get their attention. I’ll call them I’ll text him. I’ll email him. I’ll FedEx him. I’ll send him something in the mail, send notes or whatever. Usually, if somebody really doesn’t want to be dogged, then they’re going to eventually step up and say, Listen, I’m really not interested. I just said I was thinking about it. And they’ll tell you the truth, finally. So that’s why you don’t, you know, really want to go through that. But sometimes I have breakthroughs. I follow up with somebody, and they come through, and I ended up selling them something and I won’t chase something, unless it’s really a big sale, I won’t chase something for small amounts of money, because it’s not worth the time. It might be worth the time in your case, because a small amount of money might be a big amount of money to you. But the other thing is never really let somebody leave without giving you something and returned. So you can here’s here’s a move you can make, for instance, say, you know, you’ll, I know you’ll love that painting, and I know you’re probably not likely to buy it. And that’s okay, by the way to say something like that, because that might push them the opposite direction. There’s a whole theory about that. Maybe I’ll talk about that someday. Anyway, you say, listen, can I take a picture of this painting and text it to you? And they say, Sure, you know, and You can say, Well, I’ll tell you well, let me take your picture in front of it. And so you take their picture in front of it, then you say, Okay, give me your text number and you text it to them. Now you have their text. Now they have a reminder. And you can in the text, you can say, by the way, you know, here’s this is the name of the painting, and this is the price etc. Now, there’s another tool. This is oftentimes misused, and I don’t want to see you misuse it. But this tool is called urgency. I never suggest lying or even insinuating something. But if you truly have somebody else who’s interested, you can tell them that now they might not believe you, they might believe this is false urgency. But you know, you might, you might be able to say that, for instance, hey, you know, I know you’re interested in this. I know this sounds like a game but there was a guy in here earlier today and he was kind of interested. He said he might come back quite frankly, I don’t know if he will. But you know, all of a sudden, this kind of creates a little different chemical reaction. They’re like, mmm, maybe I ought to do something about this. If I’m truly serious about some people that has a negative effect. The other thing is if you sense that somebody is going to be interested in something, say that before you get to that point. So, you know, somebody says, Hey, I liked this painting, I said, you could say, well, you know, it seems to be the thing going on today, there was a guy in here earlier, I don’t know if he’s going to come back and get it or not, but he likes it too. So you’re just kind of planting that seed and then all of a sudden, it’s like, you know, it’s like when you walk into a car dealer and you like the purple car, and they say, well, we only got one purple, and we can’t get any more purple for six more months. And by the way, there’s somebody in here looking at this today, all of a sudden, you’re like, maybe I need to get my purple car. I don’t have a purple car. I’m just saying, you know, okay, so anyway, that’s one of the moves you can make.

Now, here’s the next question. And that’s from Paige in St. Louis. Paige, who says I’m an artist, I know nothing about marketing. Where do I start? Where do I learn? What do I do? Paige? I love St. Louis. I love the old train station. That’s now hotel I can’t think of the name of it. And of course, there’s a great Blues Club downtown near the arch. Anyway. Love St. Louis, you should know Paige that you’re not alone. Most artists have no idea where to start, and most don’t even want to do marketing. But before I tell you where to start, I want to reiterate that marketing is the difference between having gas in a car or not having any gas, the more gas you have, the longer you can go. And you don’t like to go to the gas station. I don’t either. I hate pumping gas, I hate the inconvenience, I’d rather not have to stop. But it’s a fact of life, I know I have to stop at the gas station and put gas in the car. And if I don’t, I’m gonna run out of gas and then I got a problem. So just like that you’ve got to adopt a must do attitude about marketing. In other words, I’m going to put gas in my car every week, and I’m going to start learning and learning how to do it and I’m going to adjust to it. So remember that marketing is not a single event or a one time thing. It’s something that you will have to adopt for the rest of your life as long as you’re trying to sell artwork or whatever you’re trying to sell. It’s a fact of life. As an artist, so those of us who choose to develop muscles and marketing will thrive and those who don’t typically will not the idea of if you build it, they will come. It’s just not true. You know, just because you’re a great painter or a great sculptor, or great, whatever. Just know that you’re not necessarily going to get discovered. I mean, sometimes people do, but it’s rare. So, where to begin? Well, first off, there’s a ton of information in the market, lots of people including me, offering books, courses, videos, etc. They’re probably all pretty good. Most people who teach this stuff are probably pretty good. My stuff is based on real life and building businesses. There’s no theory in what I do. So mine is as tested. I can’t tell you about the others. But this is a little self serving, but for 25 bucks, you can get my book, it’s called make more money selling your art and it’s a good foundation for you know, for learning marketing. It’s a good start. Most people wrongly start with what I call tactics, things like ads, things like flying wires, you know, social media stuff, etc. But to be effective, you can’t start with tactics, you have to start with strategy. In order to get strategy, you got to define your goals and to get your goals, you got to think about your dreams from that your strategy comes and then you know you once you have your strategy, you got to ask yourself, you know, who am I going after? Who’s my target? What’s their age group? How do I talk to them? What do they need to hear what’s important to them? What buttons do they need pushed from that? Then you can focus on the tactics and the tactics might be do I buy this ad? Do I do this flyer? Do I do a postcard? Do I do a website you know, all of those kinds of things. It’s all very overwhelming. You know, my best advice is to take Friday’s or one day a week, any day a week, Mondays would probably be a good day too. But take one day a week and say you know what, for the full day, every week, no matter what I’m going to work on my marketing one day out of 520 percent right. Don’t count the weekends. Work on your marketing might be reading it. My be watching a video it might be working on your website might be taking a course it might be working on social media. But if you devote one day to marketing and you don’t avoid it ever you will start to develop muscles and it’s like going to the gym you know you don’t you don’t get any action early but before you know it you got these big old honkin muscles on your arms. Maybe you don’t. Anyway, you may not love it, but I don’t love going to the gym but I do it because it’s good for me. Right? And that’s what you got to think about. So Friday marketing is a really great idea. Second thing is dream your dreams Dream Big Dreams determine your goals, but each goal has to have clarity and exactness. For instance, if you can’t just say I want to get rich. And by the way, it’s not always about money, right? But you can’t just say I want to get rich. You might say well, I want to make $100,000 to me that’s rich. Or you might say $10,000 you might say whatever your number is, you’ve got to have something that’s measurable so you can see how you’re doing you know, so you break Get into steps you reverse it. So let’s say you want to make $100,000 you say how much is that a month? How much is that a week? How many paintings Do I have to sell to make that? How many paintings Do I have to make to be able to sell that many? How do I market that? How much do I have to spend on marketing? every dollar that you spend on marketing is more likely to make you money than to cost you money, but most people think of it as a cost. I think of it as a necessity and I spend a huge amount of money in marketing every year and it just pays off. Now sometimes it doesn’t. Sometimes I mess it up. Sometimes it doesn’t work. You know, there you’re gonna have to learn and experiment. But do one thing, pick one thing and read my book, pick one thing and don’t try to do 10 things. Just pick one project and work on that and work on it towards hitting your goals. Do it just keep learning from it, make adjustments. Everything you do is going to help it might be slower, but don’t be in a hurry. Just take your time. Don’t spend a lot of money in the beginning. Just Ultimately, take some time and learn and do something. It’s better to do something than to get locked up about, you know, there are 10 things I could do, what should I do? You can’t do all 10 things right away. You have to develop your muscles and so do one thing and just do one thing really, really well. Ultimately, we learn by doing read a lot if it’s painful, go to seminars or events. I teach art marketing at my conferences, plein air convention, figurative art convention, and so on. So, in sometimes I consult people or do marketing talks or podcast recordings at my events. So, you know, pick something and learn it and do it well. Anyway, I hope this has been helpful for you.

Well, this has been the art marketing minute with me. Eric Rhoads. My goal in life is to eliminate the idea of the starving artists to help your dreams actually come true. So if you want to submit questions, simply email [email protected] And to learn more about marketing ideas, you can visit Artmarketing.com. Thanks for listening.

How to Submit Your Art Marketing Questions: What questions do you have about selling your art? Email Eric today at [email protected] (include your name and where you’re from) to hear your question answered on an upcoming Art Marketing Minute Podcast.

By |2020-11-19T10:09:17-05:00December 14th, 2020|Art Marketing Minute Podcast|0 Comments

Art Marketing Minute Podcast: Episode 45

In the Art Marketing Minute Podcast, you’ll learn how to sell your art, how to market your paintings, and everything else you need to know in order to have a successful art career. Each episode answers questions from artists by host Eric Rhoads, author of “Make More Money Selling Your Art,” publisher of several art magazines and newsletters, and author of ArtMarketing.com.

In this Art Marketing Minute, Eric Rhoads shares what “unknown” artists should do to work their way up, and how to consider where to advertise your art.

Listen to the Art Marketing Minute Podcast: Episode 45 >>>

https://www.youtube.com/watch?v=v_k0IkNvngk&feature=youtu.be

 

Submit Your Art Marketing Question:

What questions do you have about selling your art? Email Eric today at [email protected] (include your name and where you’re from) to hear your question answered on an upcoming Art Marketing Minute Podcast.

FULL TRANSCRIPT of the Art Marketing Minute:
DISCLAIMER: The following is the output of a transcription from an audio recording of the Art Marketing Minute. Although the transcription is mostly correct, in some cases it is slightly inaccurate due to the recording and/or software transcription.

Announcer 0:02
This is the Art Marketing Minute with Eric Rhoads, author of the Amazon best selling book, “Make More Money Selling Your Art.” In the marketing minute we answer your questions to help your art career brought to you by artmarketing.com, the place to go to learn more about marketing. Now, here’s your host, arts magazine publisher, Eric Rhoads.

Eric Rhoads
In the marketing minute I try to answer your art marketing questions and you can send them in email them to me, [email protected] And I’ll try to answer him on here. Here’s a question from Ron in St. Louis, Missouri, Missouri who says what am I getting from gallery owners is that they are dealing with known artists and someone like myself who’s not gallery promoted or known would never get seen. What should I do? Well, Ron, first off I think the interview that we just listened to probably answers that. I hope you heard the one with Jane Bell Meyer that we just did on the plein air podcast. The reality is that what galleries want is someone who will sell everything about, you know, you want everybody to sell you want and what sells is what is known. So if you can prove to them that you will sell that’s going to give them the confidence to go after you to try someone new. But it doesn’t happen overnight. Sometimes they’ll watch you for 3, 4, 5, 6, 10 years, you just never know. And it starts by taking control of your career. You have to build your marketing yourself. You have to build your brand yourself. You have to make yourself visible by entering and winning art competitions like plein air salon, getting into shows and even starting with smaller shows to build up a reputation build up a body of work and market yourself and yes, it’s kind of the old while once I don’t need them anymore. I don’t need them, but you’ll still benefit from having them. So I hope that helps you.

Next question comes from James in Denmark, who’s says you’ve mentioned marketing in your magazines a couple of times and you do so consistently which makes good sets, as you say, go where the money is. I like to say, stand in the river where the money is flowing, maybe my gut feel is that the billionaire’s, amongst your readership? are reading Fine Art connoisseur rather than plein air magazine? Can you enlighten us about which is better for artists to reach collectors? Well, I cannot enlighten you completely. Because James, it kind of depends on your strategy. But first off, let me answer that question directly and then indirectly, fine art kind of serious a high end collector magazine. Yes, I built it out by targeting wealthy billionaire level multi millionaire Upper 1% people, I’ve got lots of them. I got over 300 billionaire readers. I’ve got a lot of really, really wealthy people who have second, third fourth homes they have some of them have jets and helicopters, you know a lot of people who consider themselves buyers or collectors in the type of art that we do. tend to be which is representational. And they are a fluid and they tend to like expensive paintings but you know, sometimes they buy paintings that aren’t expensive. But planner magazine, on the other hand is subscribed to by two different groups people who follow and attend and buy from plein air events. And there are many, many, many people who go around and they follow the artist around and they go to the plein air events and so on. Artists are actually substantial buyers of art these days and we’re discovering that there’s now a blended category of plein air collectors who have become artists. This was discovered originally by plein air Eastern people who had attended year after year after year buying paintings got interested in painting and became painters. yet they’re still buying paintings and there are a lot of affluent people who use plein air painting as a as a hobby as a pastime. You know, it’s big in the baby boomer category. It’s really big and a lot of categories and a lot of professionals. A lot of doctors a lot of professionals who have plenty of money are also artists. So the myth about money starving artists isn’t necessarily true. Now there are starving artists out there, there’s no question. There are some that make their living entirely from art. But there are plenty who have money in the bank money from jobs, money who are employed, and they’re spending money. So we’re finding that planner magazine actually fulfills kind of both of those groups. So it also it’s a different kind of collector. It’s more of the people who like landscapes and who, like plein air landscapes and people who really love to follow the artist around and go to the events and so on. So it kind of depends entirely on your strategy. All right, so you got to think about the strategy. There’s not a, which is better. It kind of boils down to what you’re selling, who’s your ideal customer who’s your target market, these people might be perfect for you or not in these magazines, or maybe there’s something else you should do. But first, you have to do your homework about what you really need to reach who you need to reach who buys your art now what they all have in common. Do your homework. And if you go to YouTube, and search string Online art video I’ve done tons and tons of marketing talks on my daily nude broadcasts and a lot of marketing content is there and you can listen to those and find out a lot about that. But also there’s a lot of blog material at artmarketing.com. Anyway, I hope this has been helpful for you.

Well, this has been the art marketing minute with me. Eric Rhoads. My goal in life is to eliminate the idea of the starving artists to help your dreams actually come true. So if you want to submit questions, simply email [email protected] And to learn more about marketing ideas, you can visit Artmarketing.com. Thanks for listening.

How to Submit Your Art Marketing Questions: What questions do you have about selling your art? Email Eric today at [email protected] (include your name and where you’re from) to hear your question answered on an upcoming Art Marketing Minute Podcast.

By |2020-12-08T07:38:26-05:00December 7th, 2020|Art Marketing Minute Podcast|0 Comments

Art Marketing Minute Podcast: Episode 44

In the Art Marketing Minute Podcast, you’ll learn how to sell your art, how to market your paintings, and everything else you need to know in order to have a successful art career. Each episode answers questions from artists by host Eric Rhoads, author of “Make More Money Selling Your Art,” publisher of several art magazines and newsletters, and author of ArtMarketing.com.

In this Art Marketing Minute, Eric Rhoads shares advice on how to know which publications in which to advertise your art, and insights on paying percentages to art galleries.

Click Here to Listen to the Art Marketing Minute Podcast: Episode 44

 

Submit Your Art Marketing Question:

What questions do you have about selling your art? Email Eric today at [email protected] (include your name and where you’re from) to hear your question answered on an upcoming Art Marketing Minute Podcast.

FULL TRANSCRIPT of the Art Marketing Minute:
DISCLAIMER: The following is the output of a transcription from an audio recording of the Art Marketing Minute. Although the transcription is mostly correct, in some cases it is slightly inaccurate due to the recording and/or software transcription.

Announcer
This is the Art Marketing Minute with Eric Rhoads, author of the Amazon best selling book, “Make More Money Selling Your Art.” In the marketing minute we answer your questions to help your art career brought to you by artmarketing.com, the place to go to learn more about marketing. Now, here’s your host, arts magazine publisher, Eric Rhoads.

Eric Rhoads
Here’s a question from Amanda Houston, from Cornelius, Oregon. Amanda says how do I evaluate which publication to go deep into? I assume she means advertising. If I want to be in the waters where the money is flowing, which is a term I teach in marketing, which publication will allow me to grow my list of calls collectors and potential galleries, art brokers, interior designers, etc. Well, Amanda goes back to your strategy. You have mentioned a list of growing strategy but for different areas of focus, you’ve said galleries, collectors, art brokers, designers, you need to pick one which is your 80 percenter, which is the one that if you’ve got nothing else you go after that one particular one. I don’t think you should try to go after all four. I don’t think there’s any publication that’s really going to give you all four you know, if you want designers, you might want to spend, you know, massive amounts of money for a page in Architectural Digest or maybe it’s a local designer thing in your community. If you want art collectors, you know, who are looking for representational art, you know, and you want really rich ones. You go with something like fine art connoisseur, but if you want plein air collectors, those people happen to be in plein air magazine. So there’s a lot of different things and you’ve got to kind of decide Which you want. galleries are a low target because you can’t control your career with galleries as effectively. And you won’t get your prices up until you’re in their high demand top tier. Now I’m not trashing galleries, I think they’re a really good idea. But we put a lot of emphasis on galleries, I think earlier in our careers because we think, oh, they’re going to solve my problems. The problem with having a gallery is that if you have only one, then you’re relying on their ability to sell and if they mess up, or they have a bad month or a bad year, you’re going to have a bad month or bad year. That’s why I want to control things I want to control who in how I say who I sell my art through and how I sell it. And that way you can control your pricing you can get your prices up, etc. With a three year branding campaign that’s going to help you because branding helps you get your prices up. It’s going to help you get to galleries, it’s going to help you get in a lot of what a lot of different people collectors and so on. You know, you can reach galleries and collectors through one publication typically like the one that I mentioned. But designers, big world, you know, national, local, the cost to reach them can be, you know, 100 times the cost of reaching art collectors. It just depends on how you want to approach it. So first and foremost, Amanda, get your strategy down. And once your strategy is down, that will make a huge difference in what you decide to chase.

Okay, next question comes from Mark Dickerson in Mission Vallejo, California who says I have a quick question. I know you’ve talked about this in the podcast. I don’t have gallery representation yet. But when I do get a chance to really want them to be my art marketing partner and I want to offer the gallery a percentage of everything I create, even if it never hangs in their gallery. I want them to know we are in this together. How much of a percentage should I pay the gallery for any work I produced that night hangs in there gallery 25% I want to have this figured out. So when I get a chance to partner with a gallery, I’m ready to offer them to be my partner and all of my art. Mark respectfully, why would you do that? I you know, I think that the idea of having a gallery partnership if a gallery sells something for you, typically they want somewhere between 40 and 60% depending on your stature, you know, like if you’re a you’re a high level artist, you might get paid 60% they keep 40% if you’re a newbie, they might keep 60% but somewhere around that 50% area’s what they’re going to pay, but they get paid for what they sell. Now, I’m not suggesting selling around them, but why would you give a gallery a percentage of everything you sell, even if they don’t do it for you? I think that would be folly. Now. I think it goes back to what I said earlier is that a lot of people want to advocate they don’t want to delegate then want to advocate, the idea is you delegate to a gallery and you say, okay, your responsibility is we agree to that you’re going to sell my paintings at this percentage for a certain period of time and and hopefully so many per month, you know, you can’t predict that exactly. But when you advocate, you’re just saying here, take over my career and run with it. And the problem is when you have somebody taking over your career, they may or may not do it as effectively as you want them to. And you know, it’s like, say, okay, you hire a manager, and you say, okay, go do whatever you want to do. Well, all of a sudden, that managers spend all your money and run off with your wife. Just never know. So you’ve got to be really careful about advocating versus delegating. And I think that’s a really important thing to think about. So, you know, typically 50% is what the gallery gets, and I like to have a balance. I think that every artist should have a certain percentage of their work or certain type of their work that they’re doing. Selling direct. And that, you know, some galleries don’t like that. And I understand that. And if they’re willing to give you enough of a good deal and enough sales, then it might be worth allowing them to do that. I know people who do it very effectively, but I don’t want my art to be in one gallery and then sit there for months and not sell, I need those paintings to sell to be able to pay my bills. And so as a result, you want to have something, you know, I like to have balance. I like you know, sometimes there’s hot markets. You know, there was a time when Silicon Valley was really hot, and people were spending money there, there were time that certain vacation spots were hot, and there were other cities that were not. So I like the idea of having my work in an area that’s hot as well as two or three other areas maybe and and that way, you know, and there are also economies that are based on seasons. So you know, like if you have a gallery in Cape Cod, they’re not going to sell much in the winter probably. If you have a gallery in Hawaii there may not sell much in the summer. You know that you’ve, you’ve got a ski resort. Well, ski resort probably is popular in summer and winter. So you got to kind of figure that out. And I like to, I like to spread the risk to at least three and sometimes a little bit more. I personally am only in one gallery. And that’s because I can only produce a certain amount of work because I don’t paint for a living. And I just got a call that that gallery is thinking about closing their doors. And so what do I do now I got to figure out a new gallery to go into, right. So I think you want to make sure that you have control and I didn’t have control in that particular case. Anyway, I hope this is helpful.

Well, this has been the art marketing minute with me. Eric Rhoads. My goal in life is to eliminate the idea of the starving artists to help your dreams actually come true. So if you want to submit questions, simply email [email protected] And to learn more about marketing ideas, you can visit Artmarketing.com. Thanks for listening.

How to Submit Your Art Marketing Questions: What questions do you have about selling your art? Email Eric today at [email protected] (include your name and where you’re from) to hear your question answered on an upcoming Art Marketing Minute Podcast.

By |2020-11-10T10:47:32-05:00November 30th, 2020|Art Marketing Minute Podcast|0 Comments

Art Marketing Minute Podcast: Episode 43

In the Art Marketing Minute Podcast, you’ll learn how to sell your art, how to market your paintings, and everything else you need to know in order to have a successful art career. Each episode answers questions from artists by host Eric Rhoads, author of “Make More Money Selling Your Art,” publisher of several art magazines and newsletters, and author of ArtMarketing.com.

In this Art Marketing Minute, Eric Rhoads shares thoughts on resources for pricing your art, and why marketing is critical to getting your work seen and sold.

Click Here to Listen to the Art Marketing Minute Podcast: Episode 43

Submit Your Art Marketing Question:

What questions do you have about selling your art? Email Eric today at [email protected] (include your name and where you’re from) to hear your question answered on an upcoming Art Marketing Minute Podcast.

FULL TRANSCRIPT of the Art Marketing Minute:
DISCLAIMER: The following is the output of a transcription from an audio recording of the Art Marketing Minute. Although the transcription is mostly correct, in some cases it is slightly inaccurate due to the recording and/or software transcription.

Announcer 0:02
This is the Art Marketing Minute with Eric Rhoads, author of the Amazon best selling book, “Make More Money Selling Your Art.” In the marketing minute we answer your questions to help your art career brought to you by artmarketing.com, the place to go to learn more about marketing. Now, here’s your host, arts magazine publisher, Eric Rhoads.

Eric Rhoads
In the marketing minute I answer your marketing questions which you have emailed to me, [email protected] Also be sure and say where you’re from name and town. Here’s a question from Peter Shorady. It doesn’t say where Peters from says Do you know of any books about the sector. We have pricing art. No, no, the answer is no, I don’t have any idea of any books about the pricing of art. There are literally hundreds of books out there on the psychology of pricing and and pricing specific, but they tend to be pricing in a retail environment. I’ve read lots of them. A lot of them have conflicting information, there’s nuggets you can get from every one of them. But art is something special because art is not a commodity, typically. And as a result, it’s done a little bit differently. Pricing art is something I deal with in my books, my website, my videos, my podcasts. Well, this is podcast now, I guess. Anyway, it’s very dependent on how it’s being sold environment has everything to do with pricing, as does the target audiences. For instance, billionaires and even millionaires think differently than thousand heirs and appealing to that psychologism Pardon. I oftentimes tell the story of the lady who went to the 10th show. Artists tells me the story. She says how much is the painting? He says it’s, it’s $4,000. She writes out 40,000 hands in the check. She says, No, it’s, he says, It’s not for 40,000 it’s 4000. And she says, well, it must not be any good, she rips up the check. So, pricing is you know, a high price oftentimes signals a high value, a high value painting, for instance. But sometimes you have to establish yourself to get high price other times some environments you don’t, but understanding the audiences and the environment, how things are framed, who’s selling it, you know, a high end Art Gallery, a low end Art Gallery, a show, you know, how you do everything really plays into it. Pricing is almost almost always based on the strength of your brand. I mean, if I said I’ve got a Richard Schmid painting for sale or I’ve got a Clyde Aspabig painting for sale. I’ve got a Ken Coleman painting for sale, you’re going to perk up because you know the strength of the brand. If I say, you know, Larry Leadbetter than you might not know the strength of the brand. And so if you build your brand, the better your reputation, your reputation for quality, desirability, collectability importance, the better your price is going to be. Of course, scarcity plays into your price as well. If you’re a painter that produces a lot of paintings versus someone who produces very few, that scarcity is important. So you build a strong brand, and you increase your chances of getting higher prices.

Next question, Melissa in Trenton, New Jersey who says many artists feel their art speaks for itself, and they just make the art and they will eventually get discovered why marketing? Well, Melissa, there was a movie called The Field of Dreams. Remember the theme? If you build it, they will come? Well, I think it’s kind of a lie. It’s kind of like the starlet who sits in in the drugstore in Los Angeles in Hollywood, waiting to be discovered, you know, Lana Turner. It happened to Ilana Turner one time hasn’t happened to anybody else that way ever since then, and, and it turns out, by the way, that was made up by a press agent, and it wasn’t the way it worked out. after all. You could wait a long time and never get discovered. Anybody remember thing called the phone book? I mean, why put your number in a phone book just waiting for somebody to call, right? You if you if you know you’re going to get discovered? Well, somebody will figure out how to find you right? Well, your art can speak from itself. But if no one sees it, it’s kind of like if a tree falls in the forest, you know, does it make a sound if your heart might speak for itself, but if nobody sees it, you’ll never be able to hear it speak. It has to have an audience. It has to be exposed. If it’s sitting in a closet in your studio, and it’s never seen, it’s not speaking, if it’s on your website, it’s not necessarily speaking, you know, people think, Oh, I’m gonna put a website together and all of a sudden, my world is gonna change and then they call me and they say, hey, I’ve got a website, but nothing’s happening well, because you’ve got to expose your website, you have to drive people to it, you have to find strategies to bring people in. If it’s just sitting on your website, it’s just as bad as sitting in a closet or almost just as a bad website isn’t something that people typically accidentally stumble on to they might click a link because there’s a story on your website that gets their attention, and that’s Marketing. But that’s rare. So you’ve got to find ways to get people to best specifically look for you. Now, it does happen occasionally for some businesses like hot restaurants starts up and the word travels and every everybody goes there because everybody’s telling everybody else. That’s word of mouth marketing. But the reality is the restaurant was smart, because they invited the right people for the opening. They invited the press, they invited some big influencers, the local mayor, you know, some people who own local businesses, they invited people who are going to talk. And so that’s marketing that’s inviting people. paintings are personal, they’re not going to appeal to everybody. So you’ve got to have lots of eyeballs to connect you to the special person who that painting speaks to and is ready to buy. They’ve got to have the money, the time a place to hang it. It’s got to be perfect timing. That’s why volume in reach can be a good thing, but you don’t want reach everybody you want to reach people who are specially interested, especially interested in art. Now Marketing is kind of like being the kid in class who raises their hand for the teacher. You know, don’t raise your hand, if you’re not willing to get called on. And you know, you might get called on randomly once in a while, but not likely. Or imagine holding a wedding and forgetting to send out the invitations. The invitations are the marketing. Sometimes the entertainment is the marketing invitation, say, you know, we’ve got cool and that gang or somebody like that, playing at our reception. If you want to sell your art, you are in business, you’re in business. And most failures happen in business because they lack marketing. Every business does it. It can be soft, it can be quiet, it can be elegant. It can be loud, it can be obnoxious, it can be awful. You get to choose but without marketing, you starve. Anyway, I hope that’s helpful. That’s the marketing minute.

Well, this has been the art marketing minute with me. Eric Rhoads. My goal in life is to eliminate the idea of the starving artists to help your dreams actually come true. So if you want to submit questions, simply email [email protected] And to learn more about marketing ideas, you can visit Artmarketing.com. Thanks for listening.

How to Submit Your Art Marketing Questions: What questions do you have about selling your art? Email Eric today at [email protected] (include your name and where you’re from) to hear your question answered on an upcoming Art Marketing Minute Podcast.

By |2020-10-28T09:09:23-04:00November 23rd, 2020|Art Marketing Minute Podcast|1 Comment

Art Marketing Minute Podcast: Episode 42

In the Art Marketing Minute Podcast, you’ll learn how to sell your art, how to market your paintings, and everything else you need to know in order to have a successful art career. Each episode answers questions from artists by host Eric Rhoads, author of “Make More Money Selling Your Art,” publisher of several art magazines and newsletters, and author of ArtMarketing.com.

In this Art Marketing Minute, Eric Rhoads shares advice on how to get your art seen (and sold) in a small town, and how to get the most bang for your buck when it comes to advertising dollars.

Click Here to Listen to the Art Marketing Minute Podcast: Episode 42

Submit Your Art Marketing Question:

What questions do you have about selling your art? Email Eric today at [email protected] (include your name and where you’re from) to hear your question answered on an upcoming Art Marketing Minute Podcast.

FULL TRANSCRIPT of the Art Marketing Minute:
DISCLAIMER: The following is the output of a transcription from an audio recording of the Art Marketing Minute. Although the transcription is mostly correct, in some cases it is slightly inaccurate due to the recording and/or software transcription.

Announcer 0:02
This is the Art Marketing Minute with Eric Rhoads, author of the Amazon best selling book, “Make More Money Selling Your Art.” In the marketing minute we answer your questions to help your art career brought to you by artmarketing.com, the place to go to learn more about marketing. Now, here’s your host, arts magazine publisher, Eric Rhoads.

Eric Rhoads
In the marketing minute I try to answer your marketing questions which of course you can email me, [email protected] Here is a lesson. Here’s a question from Carla. I don’t know where Carlos from it says, How do I get my art seen. I live in a small town and they want my work. They just don’t want to buy it. Now, Carla, you’re not alone. Sometimes people value things more if they are at a distance. It’s called the consultants rule. You will not hire a consultant in your town but you’ll pay more for that person and hire him if they live 100 miles away, or even more if they’re thousand miles away. It seems to be true in the art world too. So you’re not alone. You know people often sometimes think that buying Art in New York is better New Yorkers won’t buy it in New York they’ll buy it in LA you know it’s kind of funny. But you know it’s it’s true to some extent in people’s heads you know they’ve got this hang up. So it can be a distance thing so you could just be in a gallery elsewhere and then make a living and and that’s a cool thing. Not everybody though wants it for free. Usually people who can’t afford it want it for free. So I say always say stand in the river where the money is flowing, find it a fluent marketplace, where do the people with money, who could buy paintings hang out in your area, do a show at a local affluent restaurant, do a show at a high end Country Club or a golf club or some place you know hair salon where all the wealthy affluent people go do something and you will sell you will have success. They’re assuming your work is holding up and you got to be ready to make sure it’s holding up but it probably is and so people are willing to To pay for things that are of quality and so get it out there. The key to marketing is your presence, get it known build awareness, build your brand, and repeat, do charity events, raise your profile and it will raise your sales.

Next question comes from Amanda. Amanda says, if I’m going to put some really big marketing dollars behind advertising, what is the biggest biggest bang for my buck paid social media ads, printed publications, how much in each 50/50 or 30/70, etc? Well, Amanda, I honestly can’t answer that question. Because I don’t know your strategy. And you can’t answer it either. Till you know your strategy, you have to pick one single goal. This is the mistake. Everybody says, you know that they’re like, well, I want to sell some paintings, but I also want to build my brand. I also want to do this. I also want to do that. Pick one goal because that one goal will determine how and why Where you spend your money? Now you will get side benefits with one goal no matter what, but you have to focus on that one goal. So there are steps to each goal. Most goals of any substance take two to three years to accomplish, sometimes more, sometimes less. So what is the one thing you absolutely must get done in the next three years as if your career depends on it, because it does in terms of how much each. Don’t make that mistake. Don’t dilute your effectiveness. Now, I’m a big Facebook advertiser. I spent a huge amount of money just last week, but I also am a huge magazine advertiser, online advertiser, I do a lot of advertising for a lot of my projects, because I’m a marketing guy. Of course, I advertise. But I don’t recommend you spend money in social media unless you have a giant war chest. A big war chest and Quite frankly, unless you know how to do it, you have, you’re competing to outbid companies for proper ad space. And honestly, I don’t think it works very well for art. I’ve seen some people do it, but I’m not really convinced. And it can work well for branding. But you got to make sure you’re branding to the right people. It’s very expensive for branding. And I think the key to most media is that you want to own it, dominate it, one media property, one magazine or one website and dominate it for three or more years. And once you’ve dominated, then you’ve got to keep your momentum and just kind of be committed to that. But once you’re getting fruit out of it, then you can start spending money at other places as well. But you if you divide it up, you’re going to slow down your effectiveness, you’re going to slow down. You know, it’s like I see people say, Well, I’ll buy a little in this issue and a little business magazine, a little in that magazine, and then you dilute it and you’re not being effective people the same exact People need to see you seven to 10 times over and over and over again before they’ll even make a decision to buy. So focus on dominating something. That’s one of the reasons our magazines are in business. We teach people to dominate, dominate. That’s what will happen. And of course, you will see a huge shift in your career if you do it that way. But what happens, happens so many times, people are like, I’m not seeing enough results fast enough. So they stop and they kill their momentum. And they’ve already got like five or six impressions. They just need a couple more impressions with certain people and those people start buying, but they back out too soon. It’s very frustrating anyway, don’t throw your money away. advertising is expensive. You got to do it right. And only big advertisers like Coca Cola or Mitsubishi or Mercedes or somebody can afford to dominate a lot of media. I can’t afford to you probably can’t afford To some people can but you dominate one thing first keep it alive for years it will pay volumes to you. volumes.

Well, this has been the art marketing minute with me. Eric Rhoads. My goal in life is to eliminate the idea of the starving artists to help your dreams actually come true. So if you want to submit questions, simply email [email protected] And to learn more about marketing ideas, you can visit Artmarketing.com. Thanks for listening.

Remember to Submit Your Question: What questions do you have about selling your art? Email Eric today at [email protected] (include your name and where you’re from) to hear your question answered on an upcoming Art Marketing Minute Podcast.

By |2020-10-27T09:56:32-04:00November 16th, 2020|Art Marketing Minute Podcast|0 Comments

Art Marketing Minute Podcast: Episode 41

In the Art Marketing Minute Podcast, you’ll learn how to sell your art, how to market your paintings, and everything else you need to know in order to have a successful art career. Each episode answers questions from artists by host Eric Rhoads, author of “Make More Money Selling Your Art,” publisher of several art magazines and newsletters, and author of ArtMarketing.com.

In this Art Marketing Minute, Eric Rhoads shares insights on unconventional ways artists are selling paintings now, and pricing prints versus originals.

Listen to the Art Marketing Minute Podcast: Episode 41 >

https://www.youtube.com/watch?v=mywy7AykXCE

Submit Your Art Marketing Question:

What questions do you have about selling your art? Email Eric today at [email protected] (include your name and where you’re from) to hear your question answered on an upcoming Art Marketing Minute Podcast.

FULL TRANSCRIPT of the Art Marketing Minute:
DISCLAIMER: The following is the output of a transcription from an audio recording of the Art Marketing Minute. Although the transcription is mostly correct, in some cases it is slightly inaccurate due to the recording and/or software transcription.

Announcer 0:02
This is the Art Marketing Minute with Eric Rhoads, author of the Amazon best selling book, “Make More Money Selling Your Art.” In the marketing minute we answer your questions to help your art career brought to you by artmarketing.com, the place to go to learn more about marketing. Now, here’s your host, arts magazine publisher, Eric Rhoads.

Eric Rhoads
In the art marketing minute I try to answer your art marketing questions. And you just email them to me [email protected] Here’s a question from Bob Ragland, says I’m interested in knowing how artists are selling their art in untraditional ways. Well, I’m interested to I’m always keeping an eye on that. Bob the untraditional quickly becomes the traditional once it works, as you know, we’ve observed because of Coronavirus, we observed a lot of people doing some new and interesting things. One thing I saw recently is an artist doing a raffle for a painting and they’re selling tickets at 10 bucks or 20 bucks each and the goal is to sell enough tickets to cover the cost that they would normally get and got a lot of entries and did a raffle and then it’s doing another one. Another artists I saw is doing an auction. Where you don’t actually see the painting? You’re buying an unseen painting and you’re auctioning for it. And lo Papa did this and started the idea. Laguna plein air painters and I was in it as a matter of fact, they raised over $20,000. So it could be done by an artist as well. And and of course, lately, lots of people are doing virtual art shows with links to buy. And that’s been very effective for very many a lot of galleries and artists doing it so I think it’s something that will probably continue. I like to see people thinking outside of the box hate that term though.

The next question comes from an anonymous person in Las Vegas, who says do prints that are the same size as the original devalue the original painting I worry that some people won’t know the difference? Well, prints are controversial and some hate them. Others love them. I’ve watched a lot of artists make some money with prints. I’ve watched them do licensing to print companies. Which is not as much money but you’ve got somebody working for you, night and day and and selling that for you. So I think that’s a pretty good thing. I think prints are a nice thing. Because a lot of people cannot afford an original but they go into a gallery or they see your work, they’d like to own it, but they can’t afford it original. I don’t know that that’s going to stop somebody from buying an original. Obviously, it’s going to be priced considerably different. And quite frankly, some people say, hey, if I never sell the original, but I sell 100 prints off of it, I’m making more money than I would have from the original so it doesn’t really matter. Some galleries love them. Some galleries hate them, you got to have a talk with your gallery about that. I don’t know if size matters might not be a bad idea to vary the size a little and quite frankly, it’s nice to have different sizes. But if you get too small, then you’re going to have a minimum price that you might not want. Remember, you want somebody walking out of the gallery out of your booth or whatever spending a decent amount of money and you want to make sure your prints are valuable but also that you’re making money on them prints are not cheap to make not good ones not by the time you put them in a What do they call that, I want to say a frame but it’s thicker the term matte There we go. Anyway, sometimes it takes a little time for those words to enter this old brain. Anyway, Matte and then of course piece plastic or something to put it up and and I think it’s something to talk to your gallery about, but I don’t see any problem with doing it. I used to think there was a problem. I’ve changed my tune on that a little bit. I think anything goes today you got to survive. You just got to make sure you’re being ethical.

Well, this has been the art marketing minute with me. Eric Rhoads. My goal in life is to eliminate the idea of the starving artists to help your dreams actually come true. So if you want to submit questions, simply email [email protected] And to learn more about marketing ideas, you can visit Artmarketing.com. Thanks for listening.

Remember to Submit Your Question: What questions do you have about selling your art? Email Eric today at [email protected] (include your name and where you’re from) to hear your question answered on an upcoming Art Marketing Minute Podcast.

By |2020-10-14T10:08:03-04:00November 9th, 2020|Art Marketing Minute Podcast|0 Comments
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