Solutions to Online Art Sales
Jan 26, 2011 Art General, Promotion and Exhibition
In case you missed it, I recently had an unpleasant experience involving internet sales. The gist of it is this: I did not recieve payment for a commission until several weeks after it had been received. As a result of this experience, I have decided to re-configure my process for online sales and commissions.
I’m fairly new to selling online, and I admit to making some mistakes. Namely, shipping art that was not paid for in full. The reason I did this was to help establish trust with potential clients. They showed their trust in me by making the initial deposit without ever seeing any product. In turn, I would not require full payment until they had been able to approve the portrait in person. I also waited too long to follow up with my client, not wanting to be too pushy.
Despite the mistakes, it has been a learning experience. Here are some of the steps I have taken or will take to protect myself.
Payment in Full
My original policy was that I would begin a commission when I received a 50% deposit. When the portrait had been delivered, the rest of the payment was due.
No more! I have decided that this is showing a little too much faith on my part. Work on a commission will not start until the deposit has been made, and the piece will not be shipped until the balance is also paid. The client will be involved during the completion of the commission so that they can see how it is coming along. They will then have the opportunity to approve a high quality digital image of the final drawing before paying their balance. Throughout this process, they can request changes or alterations.
I originally thought it was unfair to ask someone to pay for something they had never seen. After looking at Etsy, though, I realized that there are a lot of people out there doing custom work and asking for full payment up front. It’s really no different. If you are able to establish trust with your clients, this shouldn’t be a problem.
Put it in Writing
Up until now, I haven’t used a contract for any of my commissions. I couldn’t really tell you why, other than I never really felt like I needed one. However, I do think a contract would help provide some security for both myself and my clients.
I’ve always read that having a contract helps put a client’s mind at ease and I never really understood it until now. I am in the process of planning my wedding and only some of the vendors I’ve booked have had contracts. It is definitely reassuring to have a physical piece of paper that outlines exactly what they are doing and when. I would like my clients to have the same reassurance.
A contract would also help clients to realize that they are making a serious commitment to purchasing the artwork. It would be one more reminder and a bit of leverage when it came to getting final payment.
A contract would also allow me to outline policies on portrait revisions. During this holiday season, I had a client ask for changes to be made to a portrait that had already been delivered and approved (in person). I was compensated for this extra work, but it would be helpful to have my rates in writing somewhere.
If you’re interested, read more about commission contracts or check out this sample contract for art commissions.
Establishing Trust
As I’ve already mentioned, successful online art sales depend on mutual trust between you and your client. So what are somethings you can do to establish trust?
- Take time to create and maintain an online presence: blog regularly, update your facebook and twitter.
- Sell through an established site like Etsy.
- Use first-person testimonials on your site.
What are some strategies you’ve used to establish trust online?
Tags: online marketing, promotion, selling art
Selling Art Online: A Cautionary Tale
Jan 19, 2011 Art General
Selling art, especially online, is an ongoing learning curve for most of us. Hopefully, you can learn from my mistakes!
The Background
I have a website dedicated to my portrait art. The way it’s set up allows people to contact me through e-mail, order and pay for commissions all online. This opens up business to anybody, anywhere. While the majority of my clients are local people, I have had a few random visitors commission a portrait, and one of my long term goals is to increase that number.
The way I have arranged it is this:
- The client orders a portrait and sends in their photos.
- Work on their portrait does not start until a 50% deposit is made.
- When the client has approved the completed portrait by e-mail (digital image), the portrait is shipped.
- When the client receives the portrait, they are then responsible for paying the remaining 50% plus shipping.
Internet purchases are about mutual trust. The client is trusting that I will provide a satisfactory product, and I am trusting that the client will pay for it. I require a deposit as insurance in case the client decides to cancel their order halfway through. That way, I am compensated for the work that I have done up until that point. I don’t ask for the full payment until the client actually sees the physical portrait. This gives them the insurance of knowing exactly what they are paying for.
Which brings us to…
The Cautionary Tale
About a week before Christmas, I got an order for a portrait from a gentleman from another country who came across my site. He was understanding of the fact that he would not get the portrait before Christmas, but hoped it could be done as soon as possible. E-mails were exchanged and within hours of the initial message, the pictures were sent and the deposit made.
I was thrilled to have a sale from my website. I got to work right away and let me tell you, I worked my ass off! I finished that portrait in record time and managed to get it in the mail before Christmas, even paying extra out of my own pocket for faster shipping. I was more than willing to go the extra mile to satisfy a customer that might bring in more business.
Weeks went by and I heard nothing. According to the tracking number, the portrait arrived shortly after New Years. I heard nothing.
I sent invoices. I heard nothing. I sent e-mails.
I heard nothing.
At this point, all kinds of things are going through my head: maybe he forgot… maybe he’s out of town… maybe I’ve been had.
Luckily, I had his mailing address, as well as a cell phone number. I debated the best way to reach him and decided that a direct approach would be best. I called him and had one of the strangest conversations I’ve had in my life. He stated that he’d forgotten and assured me he would pay the balance the next day.
That was three days ago. Still nothing.
The Moral of the Story
Protect yourself when it comes to online art sales!
I certainly made some mistakes throughout this process, but I’ve always had the philosophy that I would give the world the benefit of the doubt until I got screwed. Well, this is it. Whether the payment comes through or not, I’d rather not go through this again. Next week I will write a post about the mistakes I made, as well as the steps I am going to take to make sure it doesn’t happen again.
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Tags: art tips, promotion, selling art
7 Tips to Make the Most of Art Gallery Openings
Sep 26, 2010 Promotion and Exhibition
You’ve lande
d an exhibition and the opening date is fast approaching. You begin to wonder what it’s going to be like, how you should prepare and what you should expect. Here are a few things to keep in mind for gallery openings, whether for a solo or group exhibition.
1. When to Arrive
It’s always a good idea, in my opinion, to arrive at the gallery a little bit early if you can. This lets you get acquainted with the gallery director or curator, get a feel for the space and help set up, if you’re so inclined. Some people like to arrive fashionably late, but that’s not my style. I like to know the lay of the land and have a few minutes to relax before jumping into networking.
3. Speaking of Networking…
Be prepared to “work the room.” You’re there to meet and greet, not only for your benefit but for the galleries. It’s a draw for visitors to know that the artist will be in attendance. Some tips for successful networking are:
- have a statement prepared to talk about your art when asked for more information
- keep business cards on hand throughout the evening, and give them out!
- have a website to direct people to if they want to see more of your work
- show genuine interest in your potential clients; ask questions (it’s not all about you!)
- mingle, but stay close to your work when in a group show
- be willing to approach viewers and introduce yourself; don’t wait for people to come to you
- don’t stick with friends or family during the opening, this makes you unapproachable
Basically, try to adopt an open and friendly attitude. Be there to answer questions and share information about your work, but also socialize and meet new people. You want to make your visitors feel welcome and valued for showing up. Remember that each person you talk to is a potential client.
4. Dress Appropriately
Don’t roll in looking like you’ve just left the studio. Yes, you’re an artist, but you also want to make a good first impression. The people you meet could be your future clients and collectors. It’s important to present yourself in a clean, professional way.
5. Saying a Few Words
Be aware that you may be asked to “say a few words” at the opening, sometimes with very little notice. At my exhibition opening last week, I knew I was going to be asked to speak. In fact, it was a mini artist talk and I was expected to talk for five to ten minutes. I made sure I had a small speech prepared so that I wouldn’t forget any important information. I’ve also been at openings where the curator has pulled me aside and said that he would introduce me in five minutes, when I’d be asked to “say a few words.” If you don’t have anything prepared, you run the risk of rambling on and on without direction or getting stuck and not knowing what to say.
6. Drinking
Wine may or may not be offered at gallery openings. If it is, I see nothing wrong with having a glass to relax and be sociable. Sometimes it’s good to just have something in your hand! Just be careful that you don’t over-indulge. Nothing screams unprofessional like a stumbling, slurring artist. This should go without saying, but it’s easy to do, especially if you’re nervous.
7. Most Importantly?
Have fun! This is the moment when you get to be in the spotlight and people can appreciate your all the hard work that often goes on behind the scenes. A gallery opening is an event, for artists and viewers alike. It’s a chance to get out, dress up and enjoy good art and good conversation. Enjoy every minute of it!
Applying Problogger’s Elevator Pitch to Art Marketing
Sep 19, 2010 Promotion and Exhibition
One thing that I’ve always found difficult is talking about my art. It’s not that I don’t like it or that I don’t want to. I love to talk about my work when people show an interest. I love being able to tell people what I do! The problem I have is communicating in a clear, concise way what I do and why I do it.
When people find out I’m an artist, the inevitable question is, “what kind of art do you do?” I usually stammer something about large, abstract paintings, but it never feels like an adequate explanation. Part of the problem is that my art is hard to describe, but the biggest issue is that I’ve never really sat down and thought about the best way to answer the question.
When I first started blogging, I did Darren Rowse’s 31 Days to Build a Better Blog. It’s an amazing program that I would highly recommend to first-time and experienced bloggers. The very first assignment was to write an elevator pitch, a statement that briefly describes the purpose and goals of your blog and mean to spark interest. Originally, the elevator pitch was used by entrepreneurs looking for investment, but this statement can be applied in many different ways.
It wasn’t until very recently that I realized this strategy could be used by artists. By creating an elevator pitch for your art, you not only solidify in your mind what your art is about, you develop a conversation starter that can be used in a variety of social settings. By thinking about these things before hand in a no-pressure situation, you prepare yourself to deliver thoughtful, articulate explanation to any potential clients.
When developing an elevator pitch for your art, remember to consider your audience. Your language might be different when talking to a curator than if you are talking to a co-worker. You want people to understand what you’re saying and be intrigued. Be prepared to expand on what you’ve talked about. Darren suggests you have several elevator pitches of varying lengths depending on what is appropriate to the situation.
I will be putting this idea into practice myself, to better prepare myself for the inevitable question. The next time someone asks me what kind of art I do, I will have a good answer! I’ll be sure to post an example of my elevator pitch soon.
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Tags: art marketing, elevator pitch, promotion
Toot Your Own Horn ‘Cause No One Else Will!
Sep 8, 2010 Promotion and Exhibition
Getting ready for my upcoming exhibition, I am faced with one of the less pleasant aspects of being an artist: self promotion.
As most artists are introspective in nature, it can be very difficult for us to put ourselves in the public eye. But do it we must!
Some galleries handle the bulk of promotion, but the artist often has a hand in it as well. If you’re exhibiting in a less conventional venue, the promotion might be entirely up to you. It’s not enough to display your art, you need to let people know it’s there.
I find that the anonymity of the internet can help alleviate some of my discomfort around self promotion, but online marketing isn’t enough.
Here are some of the strategies I’m considering for promoting my show:
1. Submitting press releases to all local newspapers. This could result in the paper running my release, a journalist developing it into a bigger story, or even an interview.
2. Submitting my event to online and print listings. There are several local websites as well as art publications that take submissions.
3. Blogging about my show and promoting it in my newsletter.
4. Distributing posters around town.
5. Promoting the event on Facebook through both my personal page and my art page.
6. Sending postcards to my mailing list and distributing them to people I work with.
7. Finally, I may also contact our local TV station about featuring my event.
At the end of the day, you want people to see your art. It’s up to you to get it out there and make people notice.
Don’t get overwhelmed with everything you could be doing. As I have to keep reminding myself, you can’t do it all! Pick the strategies that will be most effective for you and go for it!
Tags: art, exhibitions, promotion
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