Pro­fes­sional Artist: Find Your Niche

How to mar­ket your brand of art­work

International Artist - - Contents - By Graeme Smith

Some peo­ple say all art is a niche mar­ket. In the over­all scheme of things, they’re prob­a­bly right. That means artists should po­si­tion them­selves as artists. There’s no point be­ing a shrink­ing vi­o­let so only your fam­ily knows you’re a pro­fes­sional artist. You re­ally should live the pro­fes­sion.

Po­si­tion­ing is about how you present you­self. Do this so you are clearly iden­ti­fied by your tar­get mar­ket, which is im­por­tant if you’re aim­ing to fill a niche mar­ket.

Most of us start as a lo­cal artist. We can po­si­tion our­selves as the lo­cal artist. Your sig­na­ture could set you apart. I as­sume your aim is to grow your busi­ness. If you ex­change works, the fol­low­ing fac­tors are likely to have hap­pened. Your busi­ness card can re­in­force the mes­sage.

Peo­ple buy be­cause it’s what they want and they have no al­ter­na­tives.

But you can only guar­an­tee the lack of al­ter­na­tives if you live where no other artist does. We have to be seen as dif­fer­ent from oth­ers who may seem to be com­pet­i­tive.

If we man­age this, then they’re no longer com­peti­tors. All of our work is of lo­cal sub­jects and land­marks. We paint lo­cal works for vis­it­ing dig­ni­taries to re­ceive and are pub­li­cized for do­ing so. The idea is that when any­one thinks of lo­cal art they think of you. We recog­nise ‘Vin­cent,’ and many other artists, by their style or sub­ject and their sig­na­ture. In fact, with­out the sig­na­ture there is doubt about the au­then­tic­ity of the work. Pro­mote your sig­na­ture so peo­ple recog­nise it. Show clients you are se­ri­ous about your ca­reer and you are con­fi­dent. Pro­vide a money-back guar­an­tee if they’re not sat­is­fied. You could have in­creased prices since the time of the orig­i­nal sale. De­pend­ing on the stage of your ca­reer, you may have im­proved what you do as well. Thus, your work now has in­creased value when com­pared with the work be­ing re­turned. All of these fac­tors op­er­ate in your favour. Don’t just have your name and ad­dress, but also say things like the Black Rock (or wher­ever) artist, which means I paint rec­og­niz­able land­marks (or what­ever you do). You can com­mis­sion a paint­ing. Your sig­na­ture should be there too.

You need to talk to any prospec­tive com­mis­sioner. How you go about things is what you dis­cuss next. Your fee struc­ture in­cludes fram­ing, delivery, ex­tras, etc. At a later date you can dis­cuss tes­ti­mo­ni­als. Go to www.oz­zwizz.com/down­loads/ Ex­pan­sion/rwin­tro­duc­tionm.pdf If you pro­vide your name and email ad­dress to graeme@myart­ca­reer.com

Find out what they want—this comes first. If there is no agree­ment here then there is no fur­ther dis­cus­sion. You choose the frame, which then locks them into fu­ture sales (to match frames). Price so this is a bet­ter op­tion for the prospect (not as much off for own choice). Vari­a­tions ac­cord­ing to delivery method, size of com­mis­sion, dis­tance. Price ad­just­ments are the way to in­crease your re­turn. Also ar­range for re­fer­ral web­site con­tacts. Set­ting up and us­ing a re­fer­ral web­site is ex­plained else­where. There is a com­mis­sion agree­ment. Print out only those parts of your choices that are rel­e­vant to this par­tic­u­lar com­mis­sion. Then you will re­ceive weekly emails of in­ter­est to pro­fes­sional artists.

Best wishes in your art ca­reer for 2018.

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