What One Marketing Method Would You Use If You Were Just Getting Started?

Louise Murphy of Fredericksburg, Texas, asks, “What one marketing method would you use if you were just getting started?”

Well, I know you’re eager to get out and start marketing.

But Louise, before you do anything, before you get your work out there and start selling, you need to know where you want to go — before you go there. You don’t get in your car and start driving before you have a destination in mind. Same for this: Before you start marketing, you need to set your goal. Then you’ll build a strategy and tactics to get you to that goal.

I suggest starting small, and building out from there. When getting started, you just want to focus on a couple of things — the important first steps, so to speak. I’d suggest setting one, maybe two goals for things you’d absolutely die to achieve in the next six months.

For instance, if you haven’t sold any of your paintings before, maybe you’d like to sell your first painting and get some money for it. That’s an admirable and achievable first goal; it’s always a really good starting goal for a painter. Or maybe your goal is to find someone to sell your art for you, like an art gallery, or perhaps you’d like to find a partnership where you could display your art for sale in a local restaurant.

It’s so important that you set some basic goals before you do anything.

Secondly, you need to find three really honest people who are professionals and will tell you the truth. People who will tell you if your art is ready or if it still needs some work before you’re ready to start selling. I don’t recommend asking family or close friends; rather, I suggest that those three people could be fellow artists, art gallery owners, or other professionals who know what makes a market-ready piece of art. It’s critical to know if your work is ready for prime time, so to speak. If all three are saying it’s ready, then you probably should have been selling already. If two out of the three really honest people say it’s ready to go to market, then you should try to fix the problem identified by the person who disagrees, but you should still try to start selling while you work on it.

Once you set a goal, then you start to collect the e-mail addresses and mailing addresses of people interested in your work.

One strategy that will be important for your goal of selling is sending people to a website to view your art, so you’ll need to start building a site to show your finished work. You’ll want to get comfortable talking about your work and telling the stories behind your paintings, and maybe blogging about your work as well. These are all important things for new artists getting started.

Building a website, talking about your art, making e-mail and mailing lists of the names of people who like your work … these can all be goals for an artist who’s just starting out. And they’re all things that other successful artists did at some point in their early career.

There are lots of companies that can build a website for you — you don’t have to become too technical or build something from scratch all on your own. Work with people who work with other artists; you’ll want to be sure you’re showcasing your best work.

Once you’ve got a website and a handful of people who are interested in your work and are on that list of yours, you can start working on getting those people to visit your website, and then, hopefully, getting them to buy your artwork.

To summarize: Set goals. Keep them achievable. Make sure your artwork is good enough. Accumulate and capture a list of people who like your art. Build a website, get comfortable talking about your art, and start directing people who have an interest in your work back to your website.

I hope, Louis, that helps you understand a solid art startup.

Interested in growing your art sales and income? Read my best-selling book Make More Money Selling Your Art: Proven Techniques for Turning Your Passion Into Profit.

 

By | 2018-08-22T17:43:53+00:00 August 22nd, 2018|Business, Sales|0 Comments

Are First Impressions Killing Your Art Sales?

 

Last week I gathered my family for our annual visit to a local history museum that we love very much. We’ve been members for years. In fact, I’d received a membership renewal e-mail the week before, which is why the museum became top of mind, prompting us to visit. Thinking I’d be at the front desk to check in anyway, I’d simply renew my membership on the spot, which would probably be faster than taking time online. (I know, it sounds backward.)

We arrived, were asked if we were members, and of course I said we were, and that I had just received a renewal notice. “Sir, you’re not a member. You must be mistaken. You don’t show up in our system.” I was frustrated, but I recognize that people often spell my name wrong, or try to use the name on my credit card, which is not what I go by. Still no results. The looking went on for 10 minutes while my family waited impatiently. Finally, the woman at the desk, sounding angry and frustrated herself, said, “You’re not a member, never have been a member. Would you like to become a member? All you need to do is fill out this form.”

Not wanting to take more time, I simply said, “I’d just like to buy tickets.” At which time I was told, “You’ll have to go to that line over there.” I said, “There is no one at that desk.” “Oh, she’s around somewhere, you’ll have to wait.” I waited, the employee returned, and I overpaid for tickets because I didn’t have my membership.

Sadly, when I get frustrated or disquieted, I lose my joy for a few minutes, and I was grumbling under my breath about the museum. And I kept finding problems. Ultimately, though we go there every year, we decided it was not all that great anymore, so we probably won’t return. And I started to question my own memory. Maybe I wasn’t a member. Of course, that changed today, when another membership renewal notice came by e-mail.

What has this got to do with marketing art?

Every first impression matters. It sets the tone.

If someone goes to your website and can’t find what they are looking for, it sets a tone of frustration. They may have gone there looking for a particular painting, or to check you out, and the second they get frustrated, they leave, and they probably won’t come back.

Or you’re in a booth in a tent show. Someone sees something they want to buy, but you’re busy with a line of other customers and they can’t get your attention, or they hear “I’ll be with you in a minute.” They may wait, or they may tell themselves they will come back later, or they could leave in frustration. Maybe they are in a rush and can’t wait. In any case, you may have lost a sale.

Maybe someone sees your work somewhere and sends you an e-mail, but you’re out at a show and not checking your in-box. What you don’t know is that they are having a big party on Friday, they want that big painting on your website, and you’re not responding. Or perhaps they call and get your voicemail and they don’t leave a message, or they find your message box full — or they simply want to talk to you right now.

You may be thinking, “I’m only human. I can only do so much.” True, but customers think differently. And in these days of instant communication and Amazon purchases, they expect what they want, exactly when they want it. Not five days from now.

In person, first impressions matter too. You’re at an art show and the customer doesn’t feel you’re dressed appropriately, doesn’t like the quality of your frames, thinks the lighting in your booth is bad. Little things have a big impact.

Though you can’t please everyone all the time (and some people are just cranky), just remember that first impressions set the tone for your brand in the customer’s mind. You may have spent thousands of dollars over many years building a brand in a customer’s mind, yet once they decide to take action, their impression changes based on their first real encounter. Either it reinforces your reputation and brand, it’s neutral, or it hurts.  

Though you’re “just one person” and “just an artist who can’t do everything and can’t afford help,” know that you could be losing business. If the phone rings three times and isn’t picked up, they may call the next artist on their list. If you answer “Hold, please,” you’ll lose half of the people who call. If the type on your website is too small to read on a phone, they will probably leave.

To solve this, do a first impressions audit. Ask yourself about every customer entry point and if it is customer-friendly and fine-tuned to give customers what they need the moment they need it. Ask some friends to evaluate everything. See if you can improve it. Though it may cost you money to fix any issues, consider it money well spent in order to capture customers.

First impressions matter, and if you’re in the business of selling art, you’re in business — and that means customers expect the same from you as they would any other business. One painting sale lost a year is too many. If you do an audit, you can fix a lot of little things, and that could mean a change in your sales.

By | 2018-07-26T16:21:16+00:00 July 26th, 2018|Business, Sales|0 Comments

The Empty Building: What You May Be Missing as an Artist

Minutes from my home, in a very popular part of town, I’ve watched a new office building go up as I pass when driving our kids to and from school each day. Now, after months of construction, the building is ready and available for tenants. The sign went up long before the building was finished, and yet today, months after it’s been finished, it sits empty.

Keep in mind that Austin is booming, companies are leasing space like crazy, and all the neighboring buildings are full.

So what’s the problem? And what does this have to do with marketing art?

Several weeks ago when looking for space for a new studio to shoot art instruction films for Streamline Art Video, I decided this would be a great building to lease part of the space. So I decided to call. But driving by the building, I couldn’t read the phone number. My vision isn’t perfect, but it’s not that bad. So I had to drive into the lot, get close, and copy down the number. That’s mistake number one. Designers tend to go for beauty over practicality. Make sure you understand the distance when someone is viewing your ads, website, etc. For instance, on the phone most websites look bad, but they look good on a computer screen. Problem is that 80 percent of all Internet use is on the phone.

The Phone Call

My call went like this…

“XYZ Properties, can I help you?”

“Yes, I’m interested in the building on 123 Street. Can you tell me something about it?”

“Hold, please.”

Ring … Ring … Ring … Ring… “Hi, this is Bob from XYZ Properties. Please leave a message.”

“Bob, my name is Eric and I’m interested in renting your building at 123 Street. Please phone me — I am ready to move in as quickly as possible.”

Bob never called. Not an hour later. Not a day later. Not a month or now, even two months later.

Oh, I may have missed his call. It’s possible it’s in my phone somewhere. But I looked and I didn’t see it there, nor did I see any additional missed calls.

Now perhaps Bob has a deal and has the whole place rented and decided there is no reason to call. Yet there it sits, two months later, with no cars outside and the “Now Leasing” sign still up.

If Bob does have it rented, a call to me is still important because … you should always return calls. Even if you think there is no reason to. What if I wanted to hire the company to manage my real estate? What if they had a space in another building that was perfect for me? What if I wanted to buy their company? What if I wanted to reach Bob to offer him a job? Sometimes the message left is a smokescreen for the real reason behind a call.

The second reason it’s important to return calls? Now his company has a bad reputation in my eyes.

The even bigger issue, and what I suspect is the truth, is that Bob is lazy. Maybe he never heard my message. Maybe he forgot to call. Or maybe he just hasn’t gotten around to it.

In the sales business, we call people like me a “hot lead.” I was interested at that moment. Fact is, I found another building and have since moved in. I’m no longer a hot lead.

How does this apply to art?

Let’s say someone sends you a note, or calls you, and you don’t know why they got in touch. They want to get a birthday painting for their spouse, but they don’t say that because they don’t want to be sold. But 24 hours pass, and you haven’t called back yet because you are busy. Or maybe you left a message and they didn’t call back, and you didn’t try again.

Finally, when you do reach them, you find out the birthday-gift need was that day, last-minute. And you not only lost a sale, you lost a customer for life.

Now you may be thinking, “I don’t want to be too aggressive,” “I don’t want to appear desperate or needy,” or just, “They will call back.” But what if they lost your number? What if they’ve got busy and have been tied up, and forgot to call you back?

When someone calls you, they are giving you permission to reach them, even if you have to call more than once. Your message might simply be, “Your call is important. I want to make sure I follow up with you.” But at least call once.

The key is to call back as quickly as humanly possible. Make them feel important. If you don’t reach them, call a couple more times at least. If you can find them on LinkedIn or Facebook, send them a message.

You never know what is on someone’s mind. Always follow up as fast as possible.

We are living in an e-mail and texting culture, and there is a generation of people who don’t use phones to call, but only text. If this is the case, the text and e-mail information should be on the sign. (Always provide multiple options to reach you on EVERYTHING you do.)

My guess is that Bob is lazy and the building will sit empty till Bob’s boss find someone else to fill it.

Eric

PS: I’m doing a weekly blog called Sunday Coffee, where I talk about art, life and just stuff that interests me. You can subscribe or read it at www.coffeewitheric.com.

By | 2018-02-28T15:20:01+00:00 February 28th, 2018|Business, Sales|0 Comments

How to Kill an Ad Campaign

Why Getting Sick of Your Ads Will Hurt Your Business

 

“I’m sick of my ad. Can you come up with something new?” said an advertiser I was working with years ago at my radio station.

 

I had a choice. I could give him what he wanted and take his money, or I could tell him something he didn’t want to hear at the risk of losing his money. I decided to take the risk and provide an educational moment.

 

“Why are you sick of it?” I asked.

 

“All my friends at the country club have heard it, all my employees have heard it and are suggesting I change it. Even my kids are telling me I’m running it too much. Frankly, I’m a little tired of it.”

 

“Do you mind if I ask you a couple of questions?”

 

“Sure,” he said.

 

“When you see ads with a person wearing a little white moustache, what do the ads say?”

 

He replied, “Got Milk?”

 

What is it that Nike says on all their ads?

 

He replied, “Just Do It.”

 

What happens with an M&M?

 

He replied “It melts in your mouth, not in your hand.”

 

Alka Seltzer?

 

He replied “Plop, plop, fizz, fizz, oh what a relief it is.”

 

The biggest mistake advertisers make is getting sick of their slogans, their ads, their campaigns. And believe me, they have to resist: Milk processors and dairy farmers used “Got Milk” for 21 years starting in 1993, Nike used “Just do it” for 26+ years starting in 1988, M&Ms  has used the same slogan since 1954, and Alka Seltzer since 1971.

 

Ad agencies are notorious for destroying heritage campaigns for something fresh and new — and sales usually go down. Look how many ad campaigns and slogans McDonald’s has had — dozens. Yet the one we all still remember is “You deserve a break today.” That campaign ended in 1975.

 

It may take some time to get the right campaign created and tested, but your goal should be to find a slogan, a concept for your ad, that is strong enough that you can run the same concept forever.

 

Our friends-and-family test always fails us because they already know you, they already know your business; they already know everything they should know about you. But the person down the road doesn’t know you exist. Your job is to repeat your promise, your uniqueness, your special offer, to that person over and over again.

 

“But surely they’ve heard it by now. So why keep running it?”

 

I always get that question, and the answer is simple. In the 1980s it was believed the average person had to hear or see something at least seven times within a short period of time before they would take action on it. Today, due to all the clutter, experts believe it takes 13 times to get someone to act — it’s almost doubled.

 

We assume because we ran an ad that everyone saw it or heard it, but that’s simply not true. Let’s say that you’re running ads in my magazine Fine Art Connoisseur, which reaches lots of ultra-wealthy consumers. It comes out six times a year. Though people do receive it, what if they flip through it without seeing your ad? What if they are away on a business trip when it comes out and they miss an issue? No media on earth can guarantee that someone will see and absorb something.

 

There are three elements to the success of an ad. It has to reach the right audience (not necessarily the largest audience); it has to have creative that grabs your attention so that when someone is flipping through, taking less than a second per page, you jump out, grab their attention, and make them read it; and it has to be run with frequency.

 

Let’s say they flip through the magazine the first time you run it. They notice your ad, but they don’t stop to read it. The next time they flip through, they pause briefly and think, “I’ve seen this,” but then they keep going. Next time, maybe they pause and think, “Hmm, I should read this sometime.” And the next time, they pause and read it. When they see it again, they might think, “I should pay more attention to this.”

 

Repetition is nothing more than familiarity, like meeting a new person, seeing them time and again, and then, once you trust them, becoming friends. Then and only then does the friendship deepen enough that they enter your world more completely.

 

There are many other elements that ads need to contain, which I’ll touch on in the future, but the most important thing is to get people to notice and pay attention. Only then does and ad begin to do the selling.

 

Once that trust and awareness have been established, that’s not an indicator that someone is going to buy. Now they need a reason to buy. It could be an impulsive, “I really like that painting. I want to own it.” But if they get to that point before trust is built, they will probably tell themselves, “But I don’t really know anything about this artist, so I’ll pass.”

 

You see, interest in buying ebbs and flows. Timing is everything. If someone is in the middle of moving or downsizing, another painting is not what they want at the moment, but three weeks later, when they are in the new condo, buying new furniture, and thinking, “We need something new for over the couch,” they might pay closer attention next time they see your ad.

 

In my first Art Marketing Boot Camp video, where I describe the basics, I show an escalator with people going up and going down, to represent that people are always in and out of a market. If money is tight, or if something is going on in their lives, like illness or a family issue, they are not buying. If they come into money because college bills ended, they got a bonus at work, they inherited some money, got a raise, or sold a business, they may feel the desire to spend.

 

Big brand advertisers never stop advertising. They understand that people are always in and out of the market. I don’t want or need a new car today, but in a year my kids will get their license and will probably get my old car. Advertisers understand that there are always changing circumstances. Though they also repeat and repeat to gain top-of-mind awareness, they also know you must be there when the decision to spend is made.

 

I often tell the story of my friend Raul, who suddenly found himself with a lot of money. Because he loved Sargent, he decided to buy a Sargent painting. Though he was a reader of my magazine, he called and said, “Who carries Sargent? Where can I get one?”

 

Ironically, the company that sold Sargent had advertised a couple of times and then dropped out because they felt they were not getting any results. A year later, I got this call and I referred him to these people. He bought two Sargent paintings, spending millions. He was lucky he knew to call me. But what about the other 500 who wanted to do the same thing and never found the seller?

 

Of course, today the answer is “Google it,” but how do you know who is trusted? Reviews? Maybe, but this is where brand-building is important to focus on those most likely to buy (known art buyers) so they recognize your name when they do Google something.

 

Another friend, a major collector and an avid reader, told me he wanted to buy a Holbein painting. I suggested he go to a particular major fine art fair in Europe. “What’s that?” he said. We were in his office and he had a stack of art magazines, including mine. I flipped through them and found an ad. “Oh I’ve seen that but didn’t know what it was.”

 

This is a case where perhaps the advertiser assumed everyone already knew about the event. But it had not reached him, either because he did not see it enough times or the message did not cut through. Later, I researched it and found the fair had only advertised twice, about 30 days before the event. They assumed everyone already knew them, so they were not doing enough repetition to get their message across. In a case like this, an advertiser needs to use bold, attention-getting creative.

 

Usually an advertiser bails out before an ad is working because they assume everyone has seen or heard it, but in reality people are just starting to see it. Great campaigns take time to get attention and rarely work instantly, but once they start working, they work forever. People may have heard the message, but not been in the market. But after years of hearing it, when they are in the market, they buy.

 

That’s how advertising repetition works.

 

That advertiser I was telling you about earlier used just our one radio station, because that was all he could afford. But with repetition, he sold so much merchandise that he had to move to a bigger showroom. Then he out grew that one, so he opened a second store, then a third, and by the time I left town, he had built to six or eight stores and was the biggest furniture seller in town.

I’ve not stayed in touch, but chances are some ad agency somewhere talked him into changing his message and his ads — but hopefully did not destroy the business we built.

 

Whatever you do, do it with repetition. Don’t get overly concerned that people have seen it or heard it, because they go through many stages before they are aware enough to buy, and then they need to be in the market at the right time for them.

 

By | 2017-10-05T14:30:26+00:00 August 8th, 2017|Business, Direct Marketing|0 Comments

The Land of Danger for Art Marketers

 

Imagine walking through the Sahara desert. In every direction you look, you see what seems to be miles and miles of sand. The hot sun is beating down on you and you’ve run out of water. You’ve slowed your pace, and you’re in danger of collapsing and baking in this Sahara oven if you don’t find water soon. Then, as you see the sunlight reflecting off water on the horizon, you muster all your energy to run toward it. But as you get closer, you find there is no water. It’s merely a mirage.

As artists working on our own marketing and branding, we often feel like we’re in the desert. We feel barely able to make it, but then something gives us hope, something gives us the feeling that we’re making great strides — but it’s only a mirage.

Recently I was having a discussion with a company and I asked the marketing team about what percentage of the market was aware of their brand. Boldly, they said, “We know that at least 75 percent of the people in the art world know us.”

It was a mirage.

I was feeling especially kind and non-confrontational that day, so instead of challenging them and giving them a much-needed dose of reality, I simply asked how they knew.

They told me about all the things they were doing and all the places they were doing them. Frankly, it wasn’t much and hadn’t been going on for long, and they had barely scratched the surface. By asking questions, I was finally able to get them to come to that conclusion on their own.

Their perception had been that they were known, even a household name, but it was all a self-imposed mirage. The reality is that they were barely known, if known at all.

As a marketer, your self-confidence (or your ego) can kill your business. When you think you’re doing well, when you think you’re doing everything you can, you start to believe that is enough.

Recently, right after I was on stage and speaking at the opening of the Plein Air Convention, a young woman walked up to me, introduced herself, and asked politely, “Who are you, and what do you do?”

Gulp.

I’m at my own event, with my tribe, I’ve spent tons of time and money on marketing, I’ve told my story a thousand times, yet this person was unaware.

I felt completely stupid and realized I had become overconfident.

The next morning, when I went on stage, I started Art Marketing Boot Camp with my story, because if there was one person there who didn’t know it, chances are there were others.

As someone recently told me, “You cannot tell your story enough.”

Remember that marketing team? After all my questions, I told them that there was a very big chance that they were known by only a small percentage of the entire market. Others might be aware of the company’s name but not know what it does.

We all grow so close to our marketing that we sometimes make insanely stupid assumptions, like…

  • Everyone knows who we are
  • Everyone knows our story
  • Everyone knows exactly what we do
  • Everyone has read everything we ever put out
  • Everyone has visited our website
  • Everyone has seen our artwork

But we need to understand that there are always people entering and exiting the market. Through attrition, our customer list is always changing, on average by 10 percent each year, and in bad economic years, by 30 to 50 percent.

That means you have to…

  • Constantly be telling your story
  • Constantly be helping people know your product or art
  • Constantly bring new people into your list
  • Constantly stay visible

We wrongly assume that because someone sees a story or an ad, they have “captured the message.”

The reality is that most people don’t pay close attention. They don’t read things we think they should read. They skim a lot of things.

And since the average person has to be hit over the head about a dozen times with seeing or hearing your message before they become a prospect, you have to be constantly pushing and repeating that message.

And don’t assume they saw or heard it every time you ran it.

Also, repetition fades with time, so you have to compress time by being seen more frequently over shorter time periods.

There are other critical pieces. You see, every campaign is about four things:

  • What you say and how you get attention
  • How often you say it
  • How often your target prospect sees it
  • Who you say it to, which has to do with where you say it

On stage recently I asked the audience how many had seen ads for “MyPillow.com.” In a room of 1,000 people, only about 30 hands went up.

I’ve seen these ads on TV probably a hundred times in the last year, yet only 3 percent of the room was aware of them.

After seeing the ad for the hundredth time, my wife finally bought the product.

Every buyer has their own timing. Your campaigns need to repeat your story and message to the point that you are personally sick of it and think others are as well.

Even then, you’ve tapped only a small percentage of a market, and sold only a small percentage.

It all works due to the volume of people being reached and the constant repetition of the message.

I’ll bet if I asked the CEO of the company that makes MyPillow, he would say the world knows about his product because of the thousands of people reached and the large number of orders coming in. Yet he would be embarrassed and frustrated with the 3 percent of the room I surveyed.

His marketing person, on the other hand, would probably understand that more time will be required to reach more people, and even then, not everyone will be aware.

The point?

Don’t get overconfident and think the world knows about you or knows the details about your product.

Overconfidence will lead you to think you’re big when you’re not, and will lead you to reduce or stop your marketing because you believe that, or because you’re seeing some results.

Marketing is like a jet that never lands and has to be continually refueled in the air. If you land it, you lose momentum and it’s much harder to take off again — and you’ll see a reduction in business before long.

A great marketer understands the land of danger and the mirage of assuming people know who they are and know their story. A great marketer never lands.

By | 2017-10-05T14:45:07+00:00 May 3rd, 2017|Business, Direct Marketing|4 Comments

Gut Leadership

Two years ago I came to my staff with an idea for a new magazine. They listened politely but they were secretly rolling their eyes. "Here he goes on another harebrained adventure," is probably what they were thinking. I could feel it. I was way out there… and they were disinterested. Even my visionary top people were screaming on the inside while politely hearing me out.

Upon receiving everyone’s feedback I heard that my idea was a bad one, that it would kill the company, that it would be a wild goose chase. I almost took their advice. Yet my gut kept telling me I needed to move forward. So, I announced that we were indeed launching this new magazine. It was not widely supported. Some were mildly interested while others thought I was insane. After all, I’ve launched many things that did fail.

Almost two years and a whole lotta cash later I am initially vindicated. Wild success for the product is an understatement. In fact the success fell at a time when part of our other business was soft. The natural reaction is to "hunker down" and conserve cash, which of course we did… kind of. We hunkered down everywhere other than the new launch. Turns out it has become our cash cow, has brought in countless subscribers and advertisers and may surpass billing of some of our other business units.

Why share this? I’ve been glued to a CEO chair for more years than I would admit.  The majority of times I have had wild, harebrained ideas I rarely get support internally (and often externally). It’s critical to listen to your people because they are usually right… yet no one in the company has your perspective, your experience, your vision, and your gut. A CEO must follow his or her gut against all odds. As a sole business owner I live by my decisions and they impact my net worth one-way or the other.

I’m reminded that Abe Lincoln asked each of his cabinet members if he should enter into the Civil War and 100% advised against it. After loss of sleep for days Lincoln proceeded against the advice of his strongest advisors. Truman did the same when making the decision to drop the bomb. (Sadly in both cases lives were on the line where in my case the impact is not life or death).

The moral? Listen carefully. Follow your gut. Live with your decisions. Its not about being right or being popular, it’s just business.

By | 2005-02-04T00:50:40+00:00 February 4th, 2005|Business|0 Comments