Debra Keirce

I am a contributing author for Fine Art Views, a blog hosted by Bold Brush here on the Fine Art Studio Online platform. I highly recommend this blog, focused on providing quality art marketing and sales information for artists. Click HERE to see other articles I have written from October 2022 to July 2023. Click HERE to see the articles I've written since November 2025.

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October 2025

Optimize the Joy?

What would you do today if you won $200 million?

Which actions would rise to the top of your priority list? What would feel absolutely essential for feeding your creative spirit?

This article is for those who envision a life creating art, no matter how rich or famous we are. Most of us in this group want to leave our studio each day with no regrets. We want to be able to fist-pump and say we spent the day doing the work that mattered most to us.

So I’ll ask you - What do your creative days look like? More importantly, does that vision match how you’re spending your days right now?

Here’s my answer.

On my first independently wealthy day, I wouldn’t waste a moment. I’d stumble straight into the studio - no shower, no breakfast, no emails - just a pot of coffee, a bit of incense, and a favorite storytelling podcast humming in the background.

I’d open my “ideas” folder on my computer and choose something that makes my heart race. It would probably be a colorful, weathered image, like rusty metal with peeling paint, lying on a seashore where the water is calm in some places and crashing in others.

Then I’d dive in. Half the day with charcoal, sketching freely. Half the day with oils, painting without any thought of whether the piece will sell, win awards, fit a frame, or be accepted by a gallery. I would relish in the pure act of creating.

And I know the day would disappear in a blink.

That’s the day I’d live if I somehow woke up a billionaire.  This tells me something. This is how I want to live my days now, not someday.

Of course, the reality is that not every day looks like this. Some days are consumed by travel, teaching, marketing, accounting, buying supplies, or even cleaning the studio. They’re necessary parts of sustaining a creative life. But whenever I can, I try to tip the balance toward what lights me up most - making art.

Here’s the bigger truth. Every artist’s ideal day will look different. Some artists would choose marketing calls, studio visits, or teaching workshops because those things fuel their spirit. We’re wired differently, and that’s okay.

It’s my belief, that if you can build your art career around what you most enjoy - the activities that make your “multi-millionaire day” list - you’ll not only find more fulfillment. You’ll create your most authentic and successful body of work.

Even if you don’t share this belief, picturing your perfect day can help you learn what fuels your spirit, which activities feel like obligations or distractions, and where you may be giving energy to things that don’t really matter to you. 

Here are some ways I try to tip the balance closer to my perfect day in my studio.

A few years ago, I started picking the one thing on my to-do list each day that is non-negotiable. It’s what I attack first, and sometimes it’s not something desirable. Sometimes it’s whatever I need to finish so I am allowed to move on to what I really want to do. 

Each week I look back at how many hours I spent creating vs. everything else. I adjust accordingly.

I have redefined “success.” If my perfect day doesn’t include scrolling social media or obsessing over awards and sales, why would I want to spend large chunks of time doing those things? Of course we all want the likes and comments and FASO notices that a piece just sold. But these no longer drive my decisions in the studio. They are just data to me.

Time management is a skill I try to master. I combine all my undesirable activities into small blocks of time, so they don’t feel like they dominate my creative time.

Maybe it’s because I am pulling my old lady card out a lot more often these days, but I want to mention that I think about my legacy too. What is it I want to be remembered for? What projects would I regret if I never started them? Am I building a body of work I will be proud of when I get to the pearly gates?

How can you bring more of that - more of a streamlined, art practice with intention, into today? Comment and share what your perfect day looks like, and the small shifts you can make in your current practice to move closer toward it.

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September 2025

Rubric For Choosing the Art Contests & Signature Memberships Best For You

 
Deciding which exhibitions and societies to devote resources to is a strategic decision that can shape both your career path and your visibility as an artist. I’ve always felt like if I had a good rubric to follow, I could filter opportunities to yield the best results. My personal rubric has changed so much over the years. But my process for creating it has stayed pretty consistent.

This month I thought to share what I do, in hopes that it might inspire some of you to create your own rubrics. Of course, I will never know how this actually is working for me. In an alternate universe, where I do something better, I might be a legend. But in this moment, I have no regrets, and I’m thinking it has served me well. If you have a better idea, I would love to hear about it in the comments!

Warning: I do some math. I rate each of the following categories with a score from 1 to 5. 1 is low importance and 5 is most important. I also give each category a weight, for how much influence I want it to have in my decision.

Reputation & Prestige ( weight = 30%)
This category is about how well known the juried show or society is. How much national and international recognition does it have? Are a lot of the artists I admire participating?

If it is a local show, it may have a medium score, since it doesn’t get talked about outside the DC, Maryland, Virginia area. If it’s a new or obscure show, I may still want to participate, but I will score it low.

2.  Quality of Jurying ( weight = 20%)
Who are the jurors? Who are the judges? If they are established artists or curators I admire, I may want to see how they judge my work. Is the judging based on skill and merit? Or is it likely to favor people in the social orbits of the venue or society? Who are the past winners, and would I want to hang my work next to theirs? Is the work chosen so good it inspires me to work harder in order to be accepted?

3. Career Impact ( weight = 20%)
Will winning or being juried in lead to opportunities? Does signature membership confer any credibility? Does participating connect me to a new professional network?

4. Reality Check ( weight = 15%)
I used to weight this one much higher in the beginning of my career. Now, I am at a point where I kind of don’t care as much what people think, and just do what I love. But I think it’s still important to look at whether my work is a good fit for the show, and whether my chances are realistic. For example, I’m rarely going to enter shows with photography and digital art, because what I create are very traditional oil paintings and charcoal drawings that I don’t see as a good fit for those competitions.

5. Cost vs. Benefit ( weight = 10%)
Entry fees, shipping, framing, travel costs and time spent away from my studio all add up. I look at the benefits as an experience, and I weigh whether the experience might justify the cost. Are sales likely? If not, can I turn this into a teaching gig? Will I get some great insight for future entries I make in the exhibition, if I go to the opening? Or, do I just want to eat the cost, and go because I know the networking will be fun? These are my considerations. 

6. Fun ( weight = 5%)
Do I feel proud and motivated to be a part of the society or art show? Do I enjoy interacting with the community? Do the people I meet share ideas that inspire me?

From the start, I have been creating art because I have fun doing it. There are much easier ways to make money, in my opinion. So this is my way of remembering that I’m doing it all for the joy it brings me.

Now For an Example
So, what does this look like in practice? Let me show you an example. The last exhibition I got an acceptance from was a venue and society I am fond of entering. It’s the Southwest Artists, which I am a signature member of, at the Mena Art Gallery in Mena, Arkansas. They have an annual show, the Art of the Heartland Competition, open to members and nonmembers. Here is what my rubric looks like when I decide whether or not to enter it.

Reputation & Prestige
Pretty much every best in show winner is someone I am friends with, or have been following for many years. For a small town gallery, this show has garnered enough attention that I see artists I admire entering consistently each year, and even painting or drawing works especially for this competition. Of course, there are other, more prestigious shows. But in my social circles this one rates high. 

I give it a score of 5. Weighted at 30%, 5 x 0.3 = 1.5

Quality of Jurying 
I very much feel like the jurors chosen have an aesthetic similar to mine. I also see where award winners prioritize realism, technical mastery, and problem solving. These are the things I want to have my work judged on. 

I give it a score of 4. Weighted at 20%, 4 x 0.2 = 0.8 

Career Impact
Do I think a best in show for the Art of the Heartland Competition will propel me into stardom? No. BUT, I do believe that many eyes are on this show, and in particular, big wins here could open doors for me in other southwest art circles.

I give it a score of 3. Weighted at 20%, 3 x 0.2 = 0.6 

Reality Check
Is my art a good fit for this show? Yes. Am I likely to get in? Competition is stiff, but I have had work accepted more times than not. I believe this is 100% where my art belongs.

I give this a score of 5. Weighted at 15%, 5 x 0.15 = 0.75 

Cost vs. Benefit
Of course, traveling to the opening is the most costly thing to do. If I won a top award, I would probably go just because I have come to love interacting with the artists who organize this show. But in truth, the cost vs. benefit scores high if I stay home and lower if I attend the reception. So, I will assume for now that I am not going to win best in show (although I can still hope) and I will score this category for the benefits I see of having 2 works hanging with some of the most gifted artists I know.

I give it a score of 4. Weighted at 10%, 4 x 0.1 = 0.4 

Fun
This is a show I feel proud to be part of, and I am always inspired by the work it brings to the gallery. 

I give it a score of 5. Weighted at 5%, 5 x 0.05 = 0.25 

Here then, are the results of my rubric:
1.5 + 0.8 + 0.6 + 0.75 + 0.4 + 0.25 = 4.3 

That’s a pretty strong rubric result! 4.3 out of 5 is definitely a yes, as to whether I participate. 

Where it gets complicated is where there is no clear answer. If I score a 2.5 or even a 3, I am likely to try it out once or twice and see if my scoring changes over time. It’s rare that the things with a score of 3 or lower become a priority, though.

Well, there you have it - a very nerdy way to decide whether something is worth your time and effort. I hope sharing this helps you to make excellent decisions, and as always, thank you for reading.

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August 2025

To Sell or To Win

Have you ever wondered whether the kind of art that wins awards is different from the kind that sells best?

It’s a question I’ve asked myself many times. I can’t point to a definitive, data-driven answer. In fact, no peer-reviewed, double-blind study exists on this as far as I know. If you know of any, I’d love to hear about them.

What works for abstract art might not apply to representational. Sculpture might follow different patterns than photography or digital art. Everyone's experience and what we define as success is different.

In my tight realism 2D corner of the art world, with artwork under $10,000, here’s what I’ve observed:

- Still life, wildlife, and landscapes tend to sell more reliably than portraits.

- Figurative pieces are more likely to win awards.

- Pricing matters. In national shows, works priced over $2,500 can be harder to sell. 

- $1,000 and above makes for a more challenging price point in rural venues.

- Looser painting styles don’t do as well for me in sales or awards. I tend to enter shows that value technical precision, and these require higher price points. But even with affordable pricing, my loosely painted works take a long time to sell and almost never win awards.

My collectors who own multiple pieces tend to prefer works that are 12” x 16” or smaller. Eventually, they run out of wall space. Sometimes my miniature, palm-sized paintings start to catch their attention when that happens. Whether it’s because of size or higher price tags, my works that are larger than 18” x 24” are much more difficult to sell, even if they win awards.

In contests where decorative art dominates, my work rarely wins. But in skill-based, narrative-focused shows, I tend to perform well. Still, it’s not unusual for a piece to win top honors in several exhibits and yet never sell.

All of this leads me to believe that most of us create with different priorities in mind depending on whether we’re aiming for awards or sales. Of course, some artists are fortunate enough to hit both targets simply by doing what they love. I think we all have moments like that.

But I want to start a discussion about this topic. I think that many of you probably are like me. I know that my liquor and glass still life pieces sell well. If sales were my only goal, I should create primarily those works. My figurative art garners the most awards. If ribbons were my only goal, I should focus on portraiture.

On introspection though, my work is story-driven. I’m drawn to emotion, to narrative, to the connection between the viewer and the piece. That’s what motivates me. That’s what I hope shines through, especially in competitions. I hope those same stories resonate enough to drive sales. But if I had to choose, I’d rather have a small group of collectors who’d rescue my art from a burning house than a hundred who bought it because it matched their couch.

So what about you? Do you create different work for juried shows than you do for sales? Or do you simply create what you love and let the chips fall where they may?

Inquiring minds want to know.

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July 2025

To Tell, or Not to Tell 

There’s a powerful moment when a collector connects with a work of art—not just visually, but emotionally. That connection often begins with a story. But how much of that story should you share?

I’ve heard both sides of this. Some creators don’t believe narratives are important in art. Some collectors quickly get bored thinking, and just want to enjoy the visual aspects of the art. Others, like myself, see storylines as a core part of what we convey.

As artists, we’re natural storytellers. We paint emotions, experiences, ideas. It’s tempting to pour out every detail behind a piece—where you were, what you felt, what inspired you. But here’s a truth I’ve learned. Not every collector wants the full story. And sometimes, neither do I.

Telling the story behind the art is important. Titles matter. Stories matter. A well-crafted story helps people relate. It can unlock a new level of appreciation. But storytelling is an art in itself. Details can kill a sale, like when someone thinks they are looking at a scene from France and you tell them no, it’s your backyard in Detroit. The key is to balance information with marketing value. Be genuine, yes—but allow room for mystery, for interpretation. Edit.

Also, stories evolve. I often share one version of a story now, and a slightly different one a few years later. The meaning of your work can change over time as you gain perspective. What once was about loss might later feel like healing. What started as a personal moment might become universal.

And here's something liberating to remember. Once your art leaves your studio, it’s no longer just your story. Yes, you retain the copyright. But the emotional ownership? That shifts. Collectors will bring their own experiences, their own memories, to your work. Their interpretations may be wildly different from your own. That’s not only acceptable, it’s beautiful.

In fact, some pieces don’t need a story at all. Sometimes, a painting is just pleasing to look at. Or it holds a feeling, a fleeting moment, a quiet breath. That, too, is valid. Because even then, a dialogue is happening. What’s “just pretty” to you might stir something deep in someone else.

Ultimately, the story behind the art isn’t only about inspiration. It’s about connection. It begins with you, but it finds completion in the eyes of the viewer. And that story, in all its shifting versions, is worth telling. I try to tell it carefully, truthfully, and just vaguely enough to let someone else make it their own.

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June 2025

Studio Routines That Support the Business

Have you ever stopped to consider your studio habits? I mean the ones so ingrained they’ve slipped off your to-do list entirely.

For example, every time I pass my easel, I instinctively take mental notes about the next steps in my painting. Even if I’m not planning to paint that day, this check-in happens automatically. It’s not scheduled. It’s just part of me now.

I’ve come to believe that the quiet, behind-the-scenes routines we develop, both intentional and subconscious, have a major influence on how our art businesses function. So, isn’t it worth taking a moment now and then to notice what we’re actually doing on autopilot? Some habits are helpful. Some, not so much.

Let’s start with the routines we purposefully add. If you’re trying to add practices that build a more efficient work schedule, for instance, ask yourself if they are realistic. Are they sustainable? I’ve learned to keep my routines simple. If they’re too complex, I know they’ll fall away on the first chaotic day.  For me, simplicity is essential.

Then there are the routines we hang on to, even when they no longer serve us. I used to block time to rewatch old art DVDs I bought years ago. At some point, I’d absorbed everything from them. When my DVD player finally broke, I took it as a sign, and didn’t replace it. Instead, I shifted that time toward researching new techniques employed by artists I admire. It’s the same amount of time, but a lot more inspiration.

Every time I pause to examine my default studio habits, I’m surprised by what I find. Some patterns sneak in quietly. Some are energizing—like the charcoal sketching I sometimes do after finishing a painting session. I can’t explain why I started, but it gives me a sense of closure and sparks ideas for what’s next. Other habits aren’t helpful, and I have to have a talk with myself - like this tendency to treat my paint tube collection to new colors at the end of a project. Honestly? I already have enough paint to last the next ten years.

Like anything else, my studio routines evolve. But today, as I take inventory, I want to share a few habits I’m actively working to stop, and a few I want to nurture. Maybe something here will resonate with you, or inspire a reflection.

Studio Habits I’m Letting Go Of:

Traveling just because I can. I’m being more selective about trips so I don’t wear myself out unnecessarily.

Entering exhibitions out of habit. I’ve been submitting to the same shows for years, but I’m reevaluating whether they’re still the right fit for my goals.

Volunteering without reassessment. Some of the roles I’ve taken on may no longer be relevant or impactful.

Collecting more tools and supplies. I don’t need any more props, gadgets, or brushes right now—it’s time to use what I have.

Studio Habits I’m Committed to Keeping:

Showing up every day. Even on “lifey” days, I try to do something, however small.

Continuing to learn. Staying curious keeps my work fresh and evolving.

Focusing on a consistent body of work. 

Staying present on social media. Even if engagement looks quiet, many followers are quietly watching and rooting for me. I’ve seen it when we meet in person.

Studio routines are personal and ever-changing. What are yours? Are there any habits you’d like to build or break? I’d love to hear what’s working for you, and what’s not. We might just help each other find a new routine.

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May 2025

The Sweet Spot - Marketing Vs. Technical Expertise

This month I’m pondering something that applies to all creatives - painters, musicians, dancers, writers, photographers. As artists, we often hear that the better we get, the more sales we will have. Still, there are artists whose technical skill is jaw-dropping, and yet they remain obscure. Meanwhile, we watch as someone who churns out trendy art and is good at “working the algorithm” gains acclaim. Is the time and money I am putting into getting better in my craft REALLY going to pay off in the long run? This is a frustrating reality for a lot of dedicated artists.

After many rounds of this discussion, and years of wrestling with this tension, I’m offering it up here again for debate. 

Where is the Sweet Spot?

I have come to believe that there is a sweet spot. In that spot, your own marketing gets you noticed and remembered. Your accomplishments as an artist intersect that spot in a way that people take a second look, and recognize your level of talent. 

This spot occurs in a different location for every artist. There are the extremes, and everything in between. One may be great at creating art, but their marketing doesn’t reach very many people. So while they have a few loyal collectors, they have not gone viral and probably never will. (Great art and average marketing results) 

Another less accomplished artist might get noticed by a huge marketing team who thinks they can make a lot of money promoting the art. The next thing we know, that artist’s name is well known and sales are through the roof. (Average art and great marketing results)

What is Your Passion?

In the end, I believe it all depends on what your personal dreams are. We all want to be a master artist with collectors lining up to buy our work. But do you dream more about getting better at your craft or at getting better sales? I really think it’s our passion that drives this bus. And there’s the rub. If I am PASSIONATE about becoming the best painter I can be, but I WANT to be the best at sales and name recognition, I think nine times out of ten, the marketing falls short.

In the long run, passion wins.

That’s not to say that you can never improve. There are so many business resources. You can also hire someone to do it for you. There are lots of ways to improve in the art we create too. The sweet spot is always in motion. It also changes with the market, with cultural tides, and with the artist’s own journey. Sometimes you’re ahead of the curve. Sometimes the world isn’t ready. Sometimes you’re just shouting into the void because your marketing doesn’t match the power of your work.

But once in a while — BAM — something clicks. You hit that intersection of visibility, talent, and authenticity, and people feel it. That’s when they buy. That’s when they remember your name.

From Our Collectors’ Perspective:

Art is about connection. Skill matters. Marketing helps. But connection is the glue. People connect to what they perceive as genuine passion or truth. Marketing can manufacture visibility, but it can’t fake passion - not convincingly, not long-term. 

The consumers who observe our marketing and creating efforts are critics. They will tear down a cringy post or a piece of art they don’t relate to in seconds. Mind you, that marketing or art took us many hours to create. Viewers don’t care. They react. Part of what they react to is our talent. Part is our authenticity. Part is the read they get instantly on where our passions lie.

We all know that the best thing we can do with our insight is to encourage and help each other improve. But the public at large has no obligation to do so. The public can be influenced by great marketing or great technical skills … to a point. I propose though, until that sweet spot lines up for the artist they are looking at, they will not be making a purchase.

So What Do We Do?

I think the takeaway is keep getting better. Keep creating from a place of truth. And learn enough marketing to be able to amplify what you're passionate about — or find someone like FASO’s art marketing team, who can help you with resources that allow you to actively market your creations without compromising your vision.

In the end, the work we do when no one is watching builds the foundation. The marketing shines a light. But the light has to fall on something worth seeing.

Do you agree? Agree to disagree? Do you think the sweet spot has shifted for you lately? Or are you still chasing it? I’d love to hear your thoughts. 

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April 2025

Too Much of a Good Thing?

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March 2025

TMI

 
This month I am hoping to start a discussion about something I think we all struggle with. 

Too Much Information (TMI)

As creatives with art for sale, we are advised to be vulnerable and to share our personal stories. We know our audiences will relate to us and eventually feel invited to support us. I believe it is truly the best way to identify the art lovers who enjoy connecting with us as individuals. Since art is a very personal choice, it makes sense that we need to do more sharing than if we were selling cookware, or carpeting for example.

I recognize that many artists have to work hard to interact and share. On the opposite end of that spectrum, I am constantly trying to curate the information I put into the world. I have a tendency to overshare whatever is going on in my head. What exactly IS too little or too much information?

It’s the Goldilocks story, right? 

In our technology age, our knowledge, art trends, and even advice WILL ALWAYS change. But once we post our thoughts, they are trapped in the cloud. The internet doesn’t go away. Images and text can pop up in searches even decades after we think we deleted them. What we post today is the best we know now, but more than likely we would say it differently in ten or twenty years.

So, do we care? I have so much out there that I wish I could take back. Yet, it’s part of my journey. I have not devoted any time to trying to wipe my history on the worldwide web. I figure I will just let the spiders do their work, spinning my past exploits up into cocoons and sucking all the life out of them so they hang there in oblivion. 

But if anyone goes digging, there’s always a good chance they will find things I wish I had not posted.  It’s like the aunt on Facebook who posts the pencil drawing I did of my grandparent’s dog when I was twelve. All I can respond with, is “I got better.”

Do you think past and current vulnerable shares hurt your marketing or maybe even help it? If you are an instructor, I suppose you could use work from the last century to show how far you’ve come. But if you said things that 20 year olds could relate to as you struggled with adulting, do you want your now 50 year old collectors to ever gain access to those videos? 

On the other hand, it’s important, I think, that we don’t always paint ourselves in the best light. That gets so boring. 

How much of our failures should we post online about? I keep a lot of what I am doing private, until I’m sure there is an audience for it. Here’s an example - In my studio, there are so many technique and marketing experiments that are not fully vetted. I don’t like to share until I figure out if they are working for me or not. Then, even if they fail, occasionally especially if they fail, I am happy to share the results. For instance, there was that time I thought I’d paint on little wood boxes that can hold pencils or fake flowers or whatever. It turns out people don’t use pencils or artificial flower decor much anymore. Lesson learned. The experiment ended with a few housewarming gifts. None of them are online.

In short, what do you think is oversharing and what do you think is not being vulnerable enough? Is it different for everyone? By now, if you follow me you know I love lists. So here is my list of things I think about when I share with the public. However, in those moments when my forceful personality kicks in, I definitely ignore my lists. I’m absolutely sure these lists are like snowflakes. Yours can never be the same as mine.  Please add your thoughts in the comments!

What to Share:

• My constructive feedback in specific art situations
• Any art knowledge I feel has helped me to improve in my craft
• Successes of my peers in the art world
• Venues with shows, teaching opportunities and events others can benefit from
• Vendors with products I find useful
• Humorous experiences
• Struggles in the art world that resulted in growth
• Sales, juried shows I participate in, new works, awards - not to brag, but to provide data in case others want to apply, or get a feel for where they might succeed with their art
• My personal passions and inspirations
• Travel experiences

What to NOT Share:

• Politics
• Religion
• Commissioned works, unless the collector specifically asks me to share, which is maybe one in twenty times
• My personal finances
• ANYthing that would obviously make people feel a negative emotion. (I can’t be responsible for painful memories that my happy art incites though, and this too has happened.)
• The personal struggles of others
• Gossip
• Pretty much anything I doubt after I put it in writing. If I’m questioning whether to hit send, the answer is no.
• Unsolicited critiques
• Anything that is not family friendly, unless the family is the Osbourne’s.

Grey Area, Where I’m Not Sure if I Should Share:

• Products I’ve used and found fault with
• Discussions on how I think someone else’s art should be priced
• Advice about whether another artist might do well if they enter an exhibition. (I find that venues are very specific to the individual)
• Knowledge that contradicts another person’s post, but could be advantageous to them

What do you share, and do you think before you do?

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February 2025

How is Value Measured in Artworks?

How do you measure the value of your art? How do you measure the value of art by other creators?

This is probably THE most complicated question, isn’t it? It’s also why there are so many approaches to selling and marketing what we create.

I just judged a show of over 600 pieces, and I had 54 awards to give out. It sounds like a lot of awards, but it was a juried exhibition, and for the most part, the entrants have been honing their skills for decades. Still, I felt like I had to have good reasons for each piece I chose - not just “It struck me right away.” or “It’s got that x factor.”

The thing is, every judge assigns value differently. Someone else would have had a completely different winners roster. Let’s bring that back home to our own work. What criteria should we use to judge our own work? Are the highest points given to awards, sales, or opportunities in our art careers?

Well, I think anyone who has a firm answer for that question is not being truthful. 

But what I CAN do - I can list for you the specific things I consider when assigning value to my own work, and some examples of what has happened for me. Maybe you can add to this list? Maybe there are some things on it that you have not thought of?

Here they are, listed in my personal order of preference from most important to least.

1. Viewer’s Experience
This is often the ultimate goal for many artists—creating something that evokes a deep, personal connection. Art is more than an object. It becomes a mirror for someone else’s memories or emotions. The best is when viewers want to share their experiences with me, the artist.

As an artist: I love to share about how I’ve made admirals cry. It’s been a highlight of my career to have these highly decorated individuals come to me with emotions that start because of what I have painted for them. Each year the Salmagundi Club hosts a ceremony for acceptance of works into the U.S. Coast Guard government collection. Each year I have presented paintings that evoke strong emotions in the coasties, as they relate and recall similar scenes in their careers.

As an art lover: Although I try not to paint art that challenges or discomforts people, art that evokes “negative” emotional reactions can still hold immense worth to me, as a viewer. Even if it’s not tied to traditional notions of beauty or nostalgia, art that makes me feel will always peak my interest.

2. Allegorical Messages and Storytelling
Layered meaning in a piece of art can take time to resonate with the right person. I want my story to outlive the moment of its creation. My goal is for collectors to continue the narrative I started. To do this, the message and intent have to be clear, whether it’s humor, tension, nostalgia, relationships, mood. It often takes time for the viewer to understand what I am trying to convey.

As an artist: This happened with a piece I painted that was a 40” tall, 17th century style still life painting of desserts. There were tarts and cheeses, Roemer glasses, a precariously balanced bone handled knife, a cascading lime peel. Through symbolism, the separate elements tell a story of life’s bounty, fragility, messiness, and ultimate end. If I’d just been composing a pretty image, everything would have been neatly arranged. The collector understood that it wasn’t just a pretty picture. It was a commentary on life, and how we navigate it. It took him several years of thinking and relating, before he decided to make it part of his collection.

As an art lover: I gravitate toward the art that conjures up the most interesting tales for me. I recently purchased a bronze sculpture of a dolphin emerging from the waves triumphant, because it’s not only beautiful, but it reminded me of one of the most amazing moments in my art journey. Now, every morning as I pause to notice that piece of art, sitting on my bedside table, I will add another thought to the affirmation story, and remember why I get up and do what I do each day. 

3. Engagement and Feedback
This is such a tricky aspect because, feedback can be hard to decipher or act upon. I’ve noticed that engagement often reveals patterns over time rather than providing clear, immediate answers. Those recurring themes in people’s responses can point toward what makes your work distinctive, even if it’s not always intentional.

Are people going out of their way to let you know how your art impacts them?

As an artist: When a stranger asks what I do and I say “I’m an artist. Do you have a phone? Here’s my website,” I love to watch their face when they first see my work. Usually, what they see is not what they were expecting. I’m not sure what they were expecting, but people from all walks of life often have strong responses to the same works from me. I can do an entire series, and it will be the same 3 out of 10 drawings or paintings that get the most comments. I like to think I learn from those, and try to do more like them in the future. The truth is, I’m often left scratching my head. So while I’m always striving for more feedback, most of the time, I’m not sure what to do with it. Still, I feel like if people are reacting, I’m achieving an important goal. 

Take the initiative to share your work and actively engage with people—it’s not just about passive feedback. Inviting conversation deepens the relationship between you, the artist, and the audience, which is a value in itself.

As an art lover: I always try to give positive feedback and likes and follows to the artists I appreciate. If anyone asks me for a critical review of their art, I always sandwich any constructive criticism between compliments. My goal is to support and uplift with my feedback. Not all artists are thick skinned and the internet makes it easy to crush spirits.

4. Opportunities and Experiences
Opportunities that arise from your work are sometimes the most unexpected rewards. What’s particularly inspiring is how much of that value is intangible—connections, adventures, and the privilege of sharing your art with new audiences. These experiences enrich your life and, by extension, your art. Some opportunities also expand the perceived legitimacy of your work. Awards, features, or collaborations build credibility, which can further enhance how your art is valued.

As an artist: Where do I start? I have had SO many amazing moments since 2010 when I became a full time artist. Notably, there’s that time I got to stay at the 5 star Langham Hotel in Boston, because they have 11 of my commissioned works in their bar and fine dining areas. They even have a video of me seeing them installed for the first time, on their website. That felt like a lifetime achievement to me. 

But then just getting invited to give art talks at schools and museums and for art societies, because someone saw one of my pieces in a museum permanent collection - or getting to go out to sea for a week on a coast guard cutter because I won the George Grey best in show award one year with COGAP, or being invited back to teach workshops each year at museums and schools in MO, NC, TX. All of these opportunities are beyond my wildest dreams and nothing I could have scripted.

As an author and instructor: When I offer articles, posts, mentoring, demonstrations and workshops to other artists, I always approach these as events where I am sharing. Instructors are always learning from their students. It’s a two way interaction, so I feel like the hierarchy that says I know more than my students is flawed. I know specific things that are working for me. By sharing, I feel I can increase the likelihood of opportunities and experiences happening for others. 

5. Personal Growth and Mastery

How does each piece push your skills, explore new techniques, or challenge your creativity? Even if a piece doesn’t sell or gain widespread recognition, its value can lie in what it teaches you as an artist.

As an artist: I think we all create new series and experiment with different presentations, media, etc. throughout our careers. The best example of my own, is what I am doing right now. I was inspired by vintage valentines I saw in a museum, and I’ve embarked on a series I call “HeartFelt” that is trompe l’oeil and looks like pages from a scrapbook. I love that I can weave stories with different elements and evoke a nostalgic feel. I’m doing works in charcoal for half the price of my oil paintings. My growth has led me to this place where I am confidently exploring these new ways of composing and presenting my works. I could not have done this 20 years ago. I’m cashing in now on the value of those decades of learning and observation.

As a collector: I always appreciate when artists I am familiar with push boundaries. The art in my personal collection has the feel of when the artists has mastered much and is now trying something a little bit different. It’s these new adventures in personal growth and mastery that excite me.

6. Sales
The value of art is multi-dimensional and deeply personal. Sales are important, but for me the true measure of success lies in creating work that resonates with people emotionally and intellectually, forming meaningful connections and experiences.

For those who lean more on the “product first” side, sales metrics might be more prominent in measuring success, and that’s fine, too. It depends on the goals of the artist and the type of art they create.

As an artist: In my world, sales are a natural outcome of everything else I do. I am focusing on the why during each sale. My work becomes part of someone’s life story, not just a decoration. It’s something they keep when they downsize.

Much of my approach aligns with the Bold Brush circle of marketing philosophy. I am building relationships first, and then optimizing the sales transactions.

As a collector: For art to become a part of my personal collection, the sales transaction has to be simple. I won’t jump many hurdles to attain a piece. It has to speak to me. I’m not wealthy, so it has to fit my budget. I value skill in the artists I patronize. Art I pay for is impeccably rendered.

I’m sure your criteria for success and for purchases is different from mine.  As a creator, which do you value more -  the intrinsic value of art (emotional, personal connections, feedback, etc.) or the pragmatic value (sales, opportunities, etc.).
Is there a right answer? What exactly are your measures of success? What do you think are the biggest challenges in sticking to your framework? Are there ever tensions between what you prioritize and what the market or audience seems to value most?

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January 2025

Impress Us in a GOOD Way

Unfortunately, I’m an expert at what I want to share with you this month…ways to leave a negative impression even if you don’t mean to.
Sometimes life hands us the perfect storm of unfiltered honesty, bad timing, and social missteps. Those of us who live in an unpolished, less tactful  realm (if you know, you know) will relate to these words.

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True story - I once managed to offend an entire nation, within an hour of my first visit to Montana. I was at dinner with museum staff,

Well, at the restaurant, I was excited as our hosts were showing us the local history, like the Civil War- era bullet hole in the bar. I said in a loud, exclamatory voice, “Bring out the flatheads! Let’s take a selfie!” All 50 diners in the restaurant fell silent. All eyes were on me. Someone tapped me on the shoulder and said “Deb, there’s a reservation not far from here, and they call themselves the Flatheads.”

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Oops.

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I share this just to demonstrate one of the crazy first impression situations I have found myself in. I’m not sure there is a lesson to be learned here, except that the best thing is to avoid them. It’s not always possible, but we can try.

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This is why I’ve put a great deal of thought into how to act more professional and less like a social misfit. Here is a list of things I’ve learned. Comment and add your own. I won’t admit to you which of the following crimes I’ve personally committed, vs. the ones I’ve witnessed. I’m sure I’ve only scratched the surface!

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Respond Promptly. People feel unimportant or dismissed if you don’t. 

Stay Professional. Talking about competitors makes others wonder what you will say about them later.

Avoid Politics. Share political opinions, and you insult half your potential audience.

Don’t Gossip. It undermines your credibility.

Value Customers. The customer is not always right, but treating them with respect and compromise can turn them into loyal advocates. Word of mouth advertising is precious.

Show Gratitude. A simple thank-you or social media shout-out goes a long way in building relationships.

Be Authentic. Don’t be that artist with a brush set that’s all flats when you use all rounds now. People get upset when they buy into a product or process you appear to endorse, only to find you aren’t using it anymore.

Document Everything. If you just can’t make a collector happy, take notes and make sure you have tried your best to set things right. Then you have honest and readily accessible answers if people ever approach you with questions.

Be Transparent. Open communication builds trust.

Avoid Sketchy Practices. If you use ketchup in your creation, don’t call it archival.

Be More Ethical Than You Technically Need to Be. For example, don’t sell a painting and then paint it again and try to pass it off as the original. This ruins trust.

Don’t Imply Things Unless You Truly Plan to Do Them. Just one example - People will blame you when they go out of their way to be at a show reception and you don’t.

Own Your Mistakes. If you find yourself in an awkward situation, apologize profusely until the offended beg you to stop. I’m still apologizing for the flathead comment. 

Don’t Take Things Personally. Remember that how people react speaks volumes about them, and the day they are having. It’s not about you. 

Accept Boundaries. Collectors run out of space eventually. Most collector relationships result in them buying less from you as time goes on. Don’t nag or stalk them trying to get them to buy more.

Simplify Payments. Money is a sensitive subject. Keep transactions smooth and clear to avoid lingering resentment.

Know Your Limits. If someone asks you to make them look slimmer and younger in their portrait, and you don’t think you can honestly do it, politely decline the commission.

Make Them Feel Good. Whether it’s a curator, collector, peer or student, people remember how you make them feel, above all else.

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If there’s just one secret sauce thing I’ve learned about impressing folks positively, this would be it:

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Communication is key. There will always be awkward situations. Not everyone likes me. That’s okay. 

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If we have not engaged yet, I turn away from those folks. If we have already started working together, I offer a 100% satisfaction guarantee for financial transactions. I’d rather leave unsuccessful contracts, than have another person in the world singing about all my flaws. Having said that, in 50 years I’ve only had one unsatisfied client. That’s not because I don’t deserve more. It’s because I work hard to keep the lines of communication open. I talk about everything - good AND bad. People have come to expect it from me.

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In the end, professionalism isn’t about being flawless. It’s about being human, accountable, and willing to learn. Impressing people in a good way starts there.

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December 2024

3 Things to Review For a Great Start to the New Year

With the new year approaching, life seems to always come to a crescendo. I’d like to share a methodical approach I use. The project management triangle (Cost, Time, Quality) is a tried-and-true framework for balancing competing priorities and making strategic decisions—especially in a field like art where each of these factors plays a significant role in your work and business. The idea is that if you optimize one side of the triangle, you should realize that you will be making sacrifices in the other two sides. For example, you can’t have the lowest cost product, without sacrificing quality and/or time.

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COST

Think about both the price you charge your collectors AND your cost of doing business. What are you willing to do to lower your expenses, even if it means you spend more time and it lowers your quality a bit?

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Experimenting with Lower-Cost Artworks

Offering specials, or works at various price points can be a great way to appeal to a broader market. In addition to sketches, demos or smaller pieces, don't forget about prints or other ways to offer affordable alternatives. These works can serve as "entry-level" pieces for collectors who might not yet be ready to invest in your larger, more expensive works. If it fits your business model, I’ve used drop ship places like Vista Print to print cards, ornaments, journals and other stocking stuffers or swag bag items with my art on them in the past.

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Studio Efficiency

This is a great time to review your own studio habits that may be costing you money. I recently gave about half of my over-used still life objects to a charity, freeing up space for more materials purchased during Black Friday sales.

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Bulk Supplies

Buying things like frames or shipping boxes in bulk during sales is a great way to save costs long-term. Just ensure you're accounting for storage space.

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Free Shipping

This is something to consider, especially as costs are rising and buyers are more sensitive to shipping expenses. If you choose to offer free shipping, be sure to incorporate this into your pricing strategy.

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Packaging & Shipping

Streamlining your packaging process and finding the most cost-effective shipping solutions (without sacrificing the safety of your work) can result in savings. I have not tried them, but there are services out there like Pirate Ship, ShipInsure and Stamps.com that you might want to check out. If you buy sheets of heavyweight cardboard and score it with a box cutter, you can make your own boxes at a fraction of the price you would pay for them.
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TIME

There’s a delicate balance between getting all of your creations made, sold and shipped quickly, and still maintaining a high level of quality and a low cost. How do you value your time? There could be things you are doing that others could do quicker, and at a lower cost than you pay yourself.

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Prioritize & Plan

Focus on what’s most important: commissions first, then deadlines for shows and exhibitions. Time blocking can help keep things organized. Designate specific days for creative time and others for admin tasks, communication, or even personal time.

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Delegate When Possible

If there’s a task that isn’t directly tied to the creative process, such as administrative work, social media updates, or even framing, consider outsourcing or hiring temporary help. Even a few hours of extra time can make a huge difference when things get hectic. 

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Efficient Communication

Make communication more streamlined. Try keeping emails and social media updates short and to the point, focusing on key calls to action like availability, pricing, or sales. Quick, concise responses can be appreciated by customers who are busy too! Using email templates for common responses (like inquiries about prices, availability, or commissions) can also save a lot of time.

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Process Efficiency

Here’s a thought experiment. What is the longest step in your art making process? Is now a good time to brainstorm ways to shorten it? 

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QUALITY

This one is always tricky, isn’t it? You’re balancing how much effort you’re putting into a piece versus what will wow your collectors versus what you can actually deliver. Almost everything you do to improve the quality of your art is going to cost you more time and more money.

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Quality of Materials

It’s all about meeting your audience’s expectations. Are you meeting them? I always arrive at the end of the year soul searching, realizing I have a surplus of expensive frames, new varnishes I will never use, rare paints and costly, internationally sourced brushes that my collectors could really care less about. I want to provide archival, durable, award winning artwork. It’s always a good thing to review what I am doing that does not support this.

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Does Less Time Spent Mean Lower Quality?

Offering less polished works like alla prima or plein air drawings or single pass studies at a lower price point can be of value. This is where the time-quality trade-off really comes into play. While these works take less time to create, their perceived value can still be high depending on the context and presentation.

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Having said that, I feel like I am only a short time away from not offering these anymore. I’ve reached a point where I want to focus on creating only award winners. Still, it’s worth a thought.

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Crafting the Narrative

People often buy art because they fall in love with the story behind it. Consider including a short narrative about your process or the inspiration behind each piece. Even the music you listened to while creating or the brushes and paint tubes / clay and molds you sourced and used up can be a story —especially for commissions. It’s a nice touch that can elevate the experience of the artwork and add to its value.

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Quality Variance

Different buyers value different aspects of quality. Some may place higher importance on the materials used, others on the artistic skill, while others might value the story behind the work. As an artist, it’s important to adapt the quality of your output to meet the expectations of each specific audience segment. Can you think of other quality aspects to consider for next year?

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Live Demonstrations

Offering live demonstrations can appeal to collectors who are interested in the process as much as the finished product. Streaming a live painting session or hosting an online art demonstration can be an engaging way to reach more people during a busy time. It can also increase your perceived value with your audience.

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ADDITIONAL TIPS

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Streamline Your Online Presence

If you're working on multiple platforms (website, social media, newsletter, etc.), consolidate and make sure everything is up-to-date. Ensure your online store is easy to navigate and that all information is clear.

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Be Kind

This sounds obvious, but remember to say please and thank you. Any interactions you have - assume you are working with stressed out people. Make those experiences as convenient and pleasant as possible.

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Self-Care & Setting Boundaries

Finally, as you’re juggling the many demands of the season, don't forget about yourself. Art is a deeply personal process, and burnout can damage both your creativity and productivity. Schedule moments to step away from work, whether it’s a short break, a walk, or time spent with family and friends.

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By viewing the close of your fiscal year through the lens of the project management triangle, you’re setting yourself up to make the most of this busy time. You are maintaining a healthy balance between the creative and business sides of being an artist. The key is finding harmony between time, cost, and quality, so you can continue to produce work you’re proud of while managing the business side of things efficiently.

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November 2024

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October 2024

Selling Art in an Urgent World

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September 2024

Inspiration and the 3 P’s in Narrative Art 

 
This subject is near and dear to my heart. Everything I paint is a narrative piece of art. Even the artworks that start out as studies take on a story as I work them into completion. I’ve realized that the narrative literally is my motivation.
What inspires you? Have you discovered your motivation for creating yet? I’m sharing, hoping your inspiration becomes clear, but feel free to borrow mine for awhile if they resonate with you.

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I realized, when I tell stories that have the 3 P’s, I find myself in the flow or in the zone, where I lose sense of time. I don’t hit creative blocks when I create from this space. I never run out of material. 

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For me, every painting I do - commission, demo, still life, portrait or landscape - has a narrative that inspires me. So, what are the 3 P’s?

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Palpable, Passionate, Personal

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Palpable is where you feel the reality. As you create, you recall the experience. The closer you get to the finish, the more palpable your art becomes. You hear the ocean waves. You smell the salt air. You feel the hot sun on your forearms. You squint from the bright reflections off the water. Music, scents, and visual stimuli are not just background elements. They’re integral to infusing the art with genuine emotion. This manifests work that others can feel and relate to.

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Passionate is when you channel the emotions you felt when you first conceived of your artwork. Even when I’m painting the mundane, I can always find a shadow or a color pattern hiding underneath the obvious that excites me. A simple red apple can spark passion in me when I begin to study the subtle greens and yellows and how it gets all rusty near the base of the stem. For you, it may be the symbolism or a childhood memory that excites.

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Personal is the reason I usually only paint scenes I have been there to experience first hand. When I receive photos for a commission, I immediately relate them to personal stories. If I am painting somebody’s pet, I think of my own. If I’m painting a portrait, I think of who they remind me of in my life. I don’t ever paint political art or work that conveys a negative story, because if I did, they would not be a personal reflection. This is the quality that is missing, I believe, when people create what they think will sell, instead of what they are themselves relating to.

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My art is not just a craft but a profound part of my personal journey and expression. Still, prioritizing the 3 P’s takes a bit of ingenuity at times. Sometimes on commissions, where I am unfamiliar with the subject, I will play music or listen to movies that inspire me and relate to what I am painting. I just finished a painting my collector wanted of Don Quixote and Sancho. I listened to the audio book while I worked on it. 

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Atmosphere is important to me while I paint. I burn my favorite incense or candle. I flip through magazines and books, or I view photos of vacations. I’m convinced that better work results from anything I can do to find that connection to what I’m working on.

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This may sound a bit new age, but it’s what I’ve done for decades and it works for me. 

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I find that I can give better art talks, be a more entertaining instructor, get more out of workshops, and create better compositions when I am inspired and vested in the content. So it makes sense to me that marketing and sales is much more successful when I focus on the palpable, passionate, and personal storytelling. 

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This means I sometimes have to turn away shows, commissions, students, teaching opportunities and collaborations that don’t resonate. It’s not always easy to make these choices, but they protect my own creative voice. When we create from a place of deep connection, the results are often far more impactful and rewarding.
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I don’t regret missing out on any of the  opportunities I have said no to because they were not part of my story. I do regret painting the few works that didn’t align with my artistic integrity. Whenever their images pop up, I cringe. 
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Having read this, leave a comment and let me know your thoughts. I’m truly interested in what inspires and motivates other artists.

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August 2024

Look Around You For the Most Applicable Advice

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When first starting my art career, I often had a lot of low priced work that was piling up in my studio. I didn’t have a collector base yet. My first instinct was to go to established artists and ask what I should do to sell more art.

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It’s natural to seek advice from the successful professionals you admire. However, their recommendations might not always be practical for you. Seasoned artists often suggest applying to top galleries or entering prestigious shows, which may not be achievable without years of experience and skill development.
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Instead, consider observing and collaborating with peers at your own skill level and price point. Their successes and experiments can provide valuable insights and practical advice relevant to your current stage.
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Here’s an example. In theory, one day we would all love to sell a piece of artwork for six figures, right? Honestly, I will be happy if my prices stay right where they are, below $10,000. Does that mean my advice is worth less than the advice of an artist featured at the Metropolitan Museum of Art in New York City? Maybe. But I would argue that for many artists where they are in this moment, the experiences I share will be much more useful.
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Another consideration when following advice, is balancing time and resources. Artists adopt different strategies, from focusing on skill improvement to actively pursuing marketing opportunities. I have seen both approaches lead to similar outcomes after decades of dedication. Look at the people around you. Are they focusing more on technical or sales skills? How is that working for them? How long have they been working their strategies?
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There is a whole industry for social media advice. Most is not geared to the unique situations of creators. Success in the art world is unpredictable and varies for each artist. Some thrive without social media presence, while others struggle despite extensive online and print exposure. In my experience, it’s most beneficial to seek advice from peers who are sharing your social media posts. Their wins and challenges will be more relatable and supportive. Share and tag each other. You will all benefit.
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Ultimately, while learning from established artists and even historical figures is inspiring, the most practical and effective advice for modern day marketing often comes from those navigating the same path as you.
I’m talking about artists who are entering the same exhibitions you are, showing at the same galleries as you, teaching at similar venues, taking instruction from the same mentors as you. Also, some of the most useful advice is often about the things your peers tried that didn’t work out well for them. 
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All of this may sound counter intuitive at first. No matter how many amazing art experiences I have that come about because of my friends, it’s human nature to seek out the experts, dead or alive. Yet, no matter how many books I read about Leonardo da Vinci, I somehow haven’t managed to paint a Mona Lisa yet. I’ve fallen down a lot trying. Maybe there’s value in that too? Who in your circles can you observe and learn from today?

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July 2024

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June 2024

Be Aware of Bandwidth

According to the Oxford dictionary, bandwidth is defined as:

1. In electronics, a range of frequencies within a given band, in particular that used for transmitting a signal
2. The energy or mental capacity required to deal with a situation.

Just as we have limited bandwidth in technology, we, as individuals—collectors, students, peers—also have limited bandwidth in terms of our energy and mental capacity. We can't give our full attention to everyone and everything. When our energy is depleted, our ability to engage effectively diminishes.

What if, instead of trying to scream the loudest and grab the most attention, we do the opposite? 

If your current strategy is yielding the desired results, by all means, continue with it. But if you’re working hard without seeing the results you want, consider this: what if you slowed down? What if you shifted your approach to be more selective and strategic with your efforts?

Imagine focusing on activities and relationships that have previously brought you success. For instance, prioritize the exhibitions and societies that have juried you in, granted you signature status, sold your art, or given you awards. This might make more sense than trying to enter every possible venue or volunteering for every opportunity. 

What if you don’t try to make big waves? What if you don’t even bother with venues and shows that favor art unlike yours? I’ve been paying more attention to this lately, and it feels good.

By doing the most with your bandwidth, you start to emphasize quality over quantity. Fewer deadlines may mean better results.

What does being mindful of bandwidth look like in practice? 

Here are some ideas:

Prioritize Engagement: Notice people who engage with your work. Like and comment on their posts, call or write to recent buyers, and follow up with students from your workshops.

Co-promotion Marketing: Interact with societies, venues, and individuals who show interest in your work. Contribute to society member newsletters. Tag friends, magazines, vendors, societies, museums, galleries, and art centers that co-promote with you on social media.

Seek Ripple Effects: Look for interactions that can create large ripple effects. People who know and talk about you can bring new opportunities.

Let Go When Necessary: Don't be afraid to let relationships fade. Understand that there are seasons to interactions, and people will return if they're interested again.

Evaluate which income streams work best for your business: Most of us rely on a combination of these. 

Is the traditional gallery representation route right for you? Many artists build successful commissioned art businesses without relying heavily on galleries or social media. 

Some focus on commissions or teaching, which can provide a steadier income and foster tighter relationships with collectors and students. 

Often, the number of and size of artworks is important. While selling fewer pieces at higher prices, artist can manage their workloads to avoid feeling depleted. 

Others find success in video or print sales. One friend of mine successfully sells prerecorded online workshops, which eliminates the need for travel expenses.

In summary, take care of yourselves. Everyone and everything in your life benefits when you practice good self-care. By managing your physical and mental reserves wisely, you can create meaningful connections and achieve your goals without feeling overwhelmed. Be aware of bandwidth.

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May 2024

Don't Forget to Call

The telephone is one of the best marketing tools, in my experience. It’s so low tech, it actually stands out these days when you call a collector, student, venue, or fellow artist. Mind you, it may take a few voicemails before you get plugged into their contact list, but once that happens you have a direct connection.  After the shock of getting a call from someone other than a spammer, you have their undivided attention for five minutes. Make that short time count. If you get the interaction right, the person on the other end will remember the experience and tell friends about it. Word of mouth has resulted in more sales for me over the years, than email blasts.

Think about this. A phone call can increase the lifetime value of a relationship. That’s huge. Remember, in our business we don’t measure return on investment by single sales transactions. We are trying to get repeat sales. We want to create positive experiences with each person who pays us for our services. I always say if I do my job right, it puts a smile in your heart, and I mean that. We are building trust and engagement.

Think of every interaction with people as an opportunity to build your brand. Let sales happen as a result.
When you do this, opportunities start to materialize. A collector who trusts you will listen more closely when you offer a new work they might be interested in. They won’t feel like you are up selling them because you have had actual conversations about what they like. They can tell you are speaking from a genuine art lover space, not trying to meet your sales quota. It’s hard to develop that type of relationship through emails.

In marketing, they call this a PEC, personal emotional connection. 

Most phone calls don’t result in an immediate sale. Still, I feel they are successful if they help me to be more memorable.
There is a technique to this. You can’t call too often. You don’t want to appear too eager, or it becomes off putting. Every relationship is different. Some of my contacts don’t even want to get phone calls. They prefer email, text or a direct message on social media. Often they want to be the ones to follow up with a call to me. That works too. How exactly you connect with people is up to you and the individual.

Another thought is the boundaries you set on each of these relationships. I tend to blur the lines between business and friendship. But I know other artists who successfully manage their working relationships, with a firm line on how much personal information is shared. This too is very unique to you and how you decide to navigate your own art business.
Using the telephone as a marketing tool can be pivotal in building personal associations and fostering genuine relationships with people who will advance your career. It can indeed lead to increased sales, opportunities and brand loyalty over time. It’s all about creating positive emotional connections and trust rather than simply pushing for immediate transactions. 

What methods have you found to work best when it comes to PEC’s?

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April 2024

How Do We Decide the Best Way to Share Our Art?

In this vast world of ways you can present your artwork to the world, do you have criteria for which you choose?  How do you decide which art shows, societies, teaching experiences, or galleries are worth your time? Do you have a list? I bet you do, even if you haven’t written it down. 

This month, I thought to share some considerations from myself and artists I know. These are some things we take into account when deciding what will bring the most return on investment.

1. Audience Engagement: Prioritize activities that put your artwork in front of appreciative audiences who resonate with your work. Remember, context matters. A master violinist playing in a subway station is largely ignored.

2. Avoiding Misrepresentation: Be mindful of how your work and identity are portrayed in promotional materials, exhibitions, and publications to ensure alignment with your brand and values.

3. Online Presence: Consider activities that enhance your online presence and visibility, such as online galleries or social media campaigns.

4. Connection: Participate in events or groups where you can network with other artists, collectors, and industry professionals.

5. Originality: Seek opportunities that elevate the memorability of your art and provide recognition through new channels.

6. Alignment with artistic vision: Choose experiences that align with your artistic goals, preferred style and subject matter.

7. Sales and Marketing Potential: Evaluate activities that offer potential for new sales and marketing opportunities. For example, they could attract new students, result in awards or features.

8. Self Improvement: I personally strive for a balance between adventures that offer me equal measures of acceptance and rejection because that is the space that fosters growth and learning for me.

By considering these factors and reflecting on past experiences, artists can make informed decisions about how to allocate time and resources. We all want to be most vested in the activities that best support our artistic journey.

What are some of your considerations when you decide what efforts deserve part of your 24 hours each day? 

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March 2024

Why Add a Personal Touch to Your Sales?

If you don’t regularly sell your artwork, you’ll try anything to increase sales. But if you are a mid career artist, you may feel like your collectors will find and buy your art no matter what, and your efforts are best spent delivering the best art you can. Now, if you have a team of people working to sell your art so you don’t have to worry about it, you will leave these thoughts to them. 

Whoever you are, and whatever you do, you will want to make sure your buyers have an experience that keeps them coming back to you. You want them to remember you and seek you out when they want what you provide. One way to do this is to make each of your sales more personal. What does that mean?

Go ahead and brainstorm some more, but here are some ideas that I have used in the past, that made my transactions feel more personal. Every sale is unique for me. But, this is my toolbox. Some of these I haven’t employed in years. Others I dust off occasionally. Some I use every time. All of them provide ways to help collectors remember me.

Like begets like. Your best shot at a sale is the person who likes what you like. Understanding this, I always try to find something my collector and I have in common to communicate about. It can be anything. Maybe we both lived in New England. Maybe we love vintage Valentines. Right away, this creates a connection between us.

What is unique and memorable about this sale? If you can put something personal front and center in your emails and phone calls, you both have a subject to refer to when you remember the experience. For example, I did a commission for a family with Irish ancestry. I happen to love Celtic music and mentioned that I listened to instrumentals while I painted their piece.

What can you do that leaves an emotional impact on your interaction? If I am painting a posthumous portrait, I would be remiss if I forgot to offer my condolences at some point. For commissions, sometimes I will tape a brush that got used up during the painting process to the back of the painting, and add a little note about how it served me well. This usually elicits a smile. 

What special services or experiences can you provide? I include work in progress physical printed photographs with each commission. I tuck them into an envelope with a thank you note attached to the back of the painting. Some artists attach certificates of authenticity to their paintings. Especially if I know my client does not enjoy being on screens, I will communicate via phone calls and accept cash or check instead of digital money transfers. I will do whatever I can to create a sense of ease in our transaction.

How personal are your connections with your buyers? Do you see any value in deepening them? Or, would you rather remain aloof, with strong business boundaries in place? Either strategy works. I can only speak about the former one that works for me.

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February 2024

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December 2023