I felt like a complete fool.
The year was 1989, or thereabouts, and I was sitting in the rather swanky office of an interior design firm. I’d just given them my quote for a large mural in a night club that would take me weeks to complete, if I managed it at all.
I was all nerves. It seemed like so much money I was asking for. Their reaction?
“Oh I think we can pay you more than that!”
They ended up paying 50% more than I asked for.
You see, I’m really bad at selling.
I suspect I’m not the only one, particularly among artists. But there’s something you need to realise if you’re thinking about turning pro, and especially if your thinking about selling ether your work or your teaching online: You’re going to be running a business.
That may seem obvious. But many of the skills it takes to run a business well – most importantly marketing and selling – don’t come easily to many artists, I suspect. They don’t come easily to me.
Which is ironic, because the day jobs I’ve had for the last few years before becoming independent were in – you guessed it – marketing. I was an SEO (that means I got visitors to websites from Google for a living).
Marketing matters
The unpleasant truth is that if you want to be an independent artist, you also have to be a business person if you want to survive. At a minimum, that means selling your work. More likely, it means selling your time and knowledge, too.
To do that, especially online, you need to know how to get your thing in front of enough people (whether it’s your work or your teaching or both) and then you need to sell it.
Why is this so hard for artists?
Honestly, I don’t know. Maybe I’m the only one. I’d love to hear your thoughts in the comments. I have a feeling that the following play a large part:
- Cultural programming. We’re not supposed to be good at this stuff, right? We’re not supposed to be practical. It’s very easy to be unconsciously manipulated by the stereotypes that others impose on us – and even embrace them. I mean, if you’re good at selling stuff, then you’re not a real artist. Are you?
- We’re concerned with other things. I suspect that the business of making (and teaching) art is so encompassing, so demanding that there isn’t actually a lot of energy left for selling – especially if you have to learn how to do it, too.
- Self doubt. Well, it is with me. But I think that self analysis is naturally part of the makeup of an artist. And if the salespeople I worked alongside for many years are anything to go by, that tendency towards self reflection isn’t a natural part of the skill-set of your average salesperson. I don’t mean to be unkind. It’s just true.
The problem is that if we can’t get over these issues, we could very well never become independent, always be dreaming but never making our goal a reality – and the really sad thing is that the world will be the poorer for it.
I’m biased, of course, because I’m an artist. But I think the world needs more artists, not less!
How to sell when you’re bad at selling
I don’t have any real answers here. This post is more of a question than an answer, I’m still trying to figure this out for myself.
But for me, I find that it helps to think about what you contribute. Art gives a lot of pleasure to people. I know it does to me. I have a few paintings and prints that I’ve bought from artists that sell online, I don’t regret any of them. They mean a lot to me, in fact, and are some of my most treasured possessions.
And if you’re teaching, and you’re doing it well, there can be few more important tasks than the passing on of knowledge.
I’ll tell you what really helps me, too. When someone emails me with thanks for something they’ve learned from me, or leaves a nice comment about how I’ve helped them with something, even just made them feel better about something, I realise that for some people at least, the contributions I make are worthwhile.
Knowing that you make a difference makes it easier to sell the thing that makes that difference, because without it, that difference would never be made.
I know. Obvious, right? But I find I need to remind myself of that often.
What’s this worth?
And it’s still hard.
Have you ever struggled to decide how much a piece of work of yours is worth? What about a course? I find that incredibly hard, and I’m pretty sure I still under-sell most of the time. If I could, I’d happily give it all away for free.
Now, I’m sure some people are thinking that you can just outsource that part of things to galleries. And I’m sure you can. But then, you still need to sell yourself to a gallery, right? My own attempt at that, a few years ago, didn’t go so well. Doing it in the midst of the last recession probably didn’t help. But all I got was rejections.
And now, I’m too energised by what I see as a new paradigm for selling your art – selling directly to people online. It’s too soon to say how this phenomenon (and I do believe it is one) is going to develop. But I do think that increasingly, we’ll see lots of different ways of doing it.
The “painting a day” thing has been and, I think, probably gone, with the exception of the people who are already successful at it. When it was pretty new I think it was enough by itself to get you noticed, if you were good enough. It was its own differentiator. That’s not so effective when a lot of people are doing the same thing. And getting noticed by enough people is very important when you’re online – because so are a very large number of other people! Other ways to do it will surface, and it will be up to us to figure out what they are.
Maybe I’m too independently-minded for my own good, but I like the idea of being able to sell directly to people. I like the idea that we get talk to each other directly, get to know each other, and that I get to see pictures of where my paintings end up in peoples’ houses. That feels a lot more meaningful to me.
But the most meaningful and personally satisfying thing I do is teach. If I could only choose one, teaching or painting, I think I’d choose teaching.
How about you?
How comfortable are you with selling your work, your time and your knowledge? How much does not being comfortable with – or good at – selling keep you from doing what you want to do full time?
I’d love to hear your thoughts on this one.
Best wishes and thanks for reading,
Paul
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A big thing for me is that, like you, I am self taught and I don’t think my teacher knows enough!
Lol! The one good thing about that, though, is that these days there’s SO MUCH information out there for us, where there was so little before.
The down side of course is that it makes that much harder to sort the wheat from the chaff.
heather,
one word “run” Don’t waste your time with people who don’t know the things you wish to learn. Make a list of the styles, brush strokes, mediums, drawing techniques your would like to refine or master. Look for people in your area that excel at those things. Only study with people who style of art is like where you would like your art to be, people who have mastered the techniques you would like to learn. Always try to view a body of work of the teacher before you commit to a class. I learn this the hard way.
I once had a teacher tell the dean at my academy that he could only help with minor things because our style were so different and he didn’t want to paint his style but stay in my own. He said I painted like Modigliani (funny because at the time i didn’t even know who that was). Network with artists that have made it in your style they can be very generous.
Also try to understand the places where you are lacking in technique so you can clearly articulate the areas you need help in to others people who know will help you.
hope this helps
Ack! What a good blog post! I am one of the more self-critical people I know as I have trouble even understanding how my work could even be of interest to people! Hopefully not sounding grossly self-abusive, but it is really an issue. I recently braved entering a drawing in a small local show, and I can even imagine why they accepted it..crazy. I just don’t know how to value my own work. I love to make it, I love to take risks with content and technique, but don’t know how to share it confidently.
Could be the art is just not very good. I also think some artists overprice their work.
Selling is so hard as it seems like this impossible herculean trial to accomplish. The gallery route has never worked for me either. Plenty of denials there too and then I did get into what looked like a nice gallery. But they have sold exactly one small drawing in over 2 years. Definitely not worth the effort I went through to get the work to them… and now I have to get it back.
Mostly, I think my problem is a lack of motivation to sell what I think is just not very good art. Maybe once I have my art where I actually like it I will find the motivation?
That’s a really good point Krislyn. Will your work ever be at a point where you feel really confident about it?
For me, that point hasn’t come. But I do think a point comes when you can look at your work and know that it’s good enough.
I also have a feeling that self doubt over the quality of the work often has little to do with the work itself.
I agree with that statement Paul, about self doubt and what other people think of your work. I often ‘love’ one of my paintings and ‘cringe’ at my others and people look at the cringe-worthy ones with more admiration than the ones I feel really good about! Art is so subjective….
I try to be optimistic though. And also look forward to more discussions of this nature. I really enjoy your blog so Thank You!
Could be the art is just not sellable. I also think artist overprice their work (they price based on ego) when there is no tried market it.
I’m self-taught so in a sense, I know what my limitations are. I’m learning the importance of growing both as an artist and as a marketer. Getting to know your audience is crucial, and yes, you have to remind people that Your art can and will make them happy!
Thanks for your article. I also have a problem to market myself. I am a retired academic, taught drawing, painting and ceramics. I love teaching at home and my students adore me. It gives me great pleasure to see my students grow and blossom by doing art.
As many of my students are pensioners, I do not want to charge too much. As far as my own art is concerned. What is not displayed in my home is stored away. I exhibited a number of times, but framing and exhibiting is so expensive, that al the money I made from the sale of my work, just covered my expenses. So at present I am not painting for monetary rewards, but purely for the pleasure of it.
I would love it if someone would take my work and market it for me.
Hi Paul
I’m self taught too and I can see that I get better every year. The issue for me, being self taught, is a lack of confidence. I feel some artists are very arrogant about where and how they learnt their trade. The implication being that what we ‘amateurs’ do just can’t possibly every be good enough. Others are incredible supportive and I’m hoping their confidence and camaderie will rube off on me. I also think my pictures are never good enough to sell because as I’ve finished one I think – oops I haven’t got that quite right. It’s weird because I was taught that it’s ok to be a ‘good enough mother’ so why can’t I accept being a ‘good enough painter’. The fact that you have struggled to price and sell pictures actually makes me feel a bit better because it’s obviously a common problem. I’m currently on a painting break in Peru and am determined to have an exhibition for my friends before the summer ends. Please keep up your inspirational posts. They are most welcome. Allison
An artist needs to create great art with a unique style. We are competing against each other in the art niche where their art type sells .
Great art is highly skilled in every way.
I know that the few paintings and drawings I have to offer are of a pretty good standard when compared to others (even if I say so myself). I desperately need to have gallery representation, but never feel I’m ‘ready’ enough to make the leap.
The trouble is that my work is continually evolving every couple of paintings either through approach, technique or concept, so I feel that I don’t have a consistent body of work that galleries want from their artists. I’m yet to obtain the “oh, that’s a Tom Mulliner piece, is it not?” look to my work. An idiosyncrasy.
For me the hardest part is the business part i.e do you have to register as a proper business to pay tax and things like this. I would like to try to sell my work on a part-time basis whilst keeping my (very boring but necessary) full-time job. There are plenty of websites dealing with technique but I only know of one which appears to try to explain the actual business part ‘Artbusinessinfo.com’ which is part of ‘Making a Mark’ all run by Katherine Tyrrell. I find this sort of info really difficult to get to grips with and digest. It certainly doesn’t sit easily with the nice romantic idea of being an artist. P.S. I really enjoy and greatly appreciate your blog Paul. Suzanne.
Hi, Paul,
Thank you for the blog–I really have enjoyed reading everything I’ve found. This post, about selling, really hits home for me. I have a degree in art (studio painting) but I very seldom use anything that I learned in school–so I consider myself more self-taught than school-taught. I actually have a reasonable amount of confidence in my work, and I’ve sold most of what I paint (well, maybe “most” is pushing it!); I’ve been in shows & competitions, etc etc etc, but I STILL struggle mightily with the selling aspect. I’m trying to get an online thing together–website, etsy page or whatever, facebook, there’s all this stuff people say you need to do, and I just have this deep reluctance to get it done. It’s like putting your soul on display.
Great post. It touches on something I recognize very well.
I have to disagree with some of the comments below, though.
I don’t think being self-taught makes a difference when it comes to selling your work. In a way, everyone is self-taught. You can show someone certain techniques, styles and what not, as many times as you’d like, but the student will only understand what the teacher is explaining until he/she has done it for him/herself.
In the end, the collector doesn’t care if the work he bought was created by a wellknown artist or an unknown person. It’s the piece of art itself that has to speak to the collector to get him/her to buy it. A collector that sees his purchase as an investment will most likely buy a work from a wellknown artist imho.
Fortunately I have a daytime job so I am not too bothered with selling my work anymore. I’ve tried to put more effort into marketing and online presence and so on, but failed miserably. The downside of the daytime job is it takes a lot of time and energy of my day already and then I have a big family on top of that, so there’s not enough time nor energy left to be a prolific artist. That’s quite frustrating to be honest. But I have to be consistent, I can’t raise 5 kids being a good father, have financial security for them, and painting fulltime. I just don’t have the energy for that. And family comes first.
On the other hand, a nice consequence of this all is that I paint only for myself. What I mean is that I choose my subject because it intrigues me, not because I know a potential customer will like it. I create the atmosphere I want, I use the technique I want, etc. Not what a gallery / customer wants. I have no deadlines to finish paintings. I have no financial pressure. Painting like this is very rewarding.
If you want to be a professional artist, then you need to understand that you want to run a business. Business is about providing products and services to make money. You can, and should, love what you are selling, but it needs to make money. A business needs to make a profit on a consistent basis. A business that can make 30% profit is doing well. An artist should charge to cover their expenses and also for their time. To do this, we need clients which involves marketing, meeting and talking to people, and showing our art to people. If this is not your strong point, then hire someone to do it for you.
Hi, Paul,
This very morning is an example of my fascination with the scary world of creating art and taking steps to build my confidence and move ahead into a painting. I have signed up for the Tapping World Summit and have been impressed with the speakers who are presenting. Paul Sheele, Carol Look and Louise Hay (and many others) who have joined Jessica Ortner for inspiring words about the technique of E. F. T.
Confidence, and abundance and prosperity are some of the themes and I am listening and tapping along. I know it sounds very ‘California’ but I happen to believe this state is a leader in the world in many areas and this particular technique is helping me see and move through the many blocks that present when doing a painting.
Thank you for YOUR work and commitment to teaching. I have learned a lot from you and I rely on you to simplify what seems impossible i.e., color.
Sincerely, A C
Anita,
not just California, I’m a east cost tapper since 1998. Not so much an eft conference girl. Went to one truly expensive conference in connecticut with Gary craig and company and that was enough for me. One nasty arrogant narcissistic man. EFT definitely works just be careful of the people you meet. There is a scam component and hidden agendas to some of these folks.
Hi Paul
Thank you for bringing up this very delicate issue of being an artist, a business person and a teacher. Wearing 3 hats at the same time, or switching hats several times a day or week is what makes it so difficult. It’s like having 3 full time jobs with the same amount of time in a day as for someone who handles only 1 job in his/her life. That’s what I think makes it so difficult for artists to handle the business part, why most had a gallery or someone taking care of business in the past. Quite frankly, if you want to create new art you have to immerse yourself in your creation. That requires planning, focusing on a specific subject/message, doing drafts for every painting, thinking, journaling, jotting down your observations, then tackling every painting, setting them aside, re-evaluating them, correcting or starting over the ones that didn’t quite work out, waiting enough time to varnish, then comes the question, to frame or not to frame, etc. This work consumes you. Then you have to start over with the business part. Website, social media, blog posts, newsletter, gathering subscribers, looking at your stats and evaluating when you’re not hitting full potential, what to change, offer the new work, publicize the upcoming show, write an article, book the place, hang the stuff, etc, etc,.. Then I could go on about the teaching part. But I’ll spare you. You get the gist of the idea. My explanation why it’s so hard is because it’s like working 3 different jobs full time. This day still has (only) 24 hours and that will not change. We humans have only so much energy and resources. It’s exhausting ! I watched a young artist on UTube who shelled her 80 hour week. Exhausting ! + taxe reports. + friends who don’t get it that if she works from home, she WORKS, and cannot tolerate interruptions, people who think art is not a serious business, I mean how dare you make a living with something that’s supposed to be a hobby, how dare you enjoy your job !!
In my case I’m also dealing with M.E., so energy is dwindling. I facilitate Live Models, publish weekly schedules, organize art events, take courses, live and online, practice at home, finish works started at the atelier, and so on.
And then there’s family life. Which in fact should come 1rst ! Your loved ones are so important in every respect.
So, you see, Paul, I have no solution. Only the lay-out of the problem. But perhaps, if we all put our heads together, maybe we could find a solution ? Maybe we should create a think tank ? a group of artists who’d bring ideas, exchange ways they have managed this dilemma ?
I do not want to end this post without thanking you for all the wonderful material you bring to our attention. I’ve sifted through a lot of ”artistic” blogs and newsletters, and yours is always a definite keeper, very valuable because you are genuine and whole heartedly involved into everything you share and produce. Congrats !
It’s really hard when you teach and you are the one who has to ask the students (or their parents when the srudents are teens) to cover the monthly payment.
There’s that awkward position where you have to reach to the students to get them feel comfortable with you, and you don’t want to be the persons who asks for their money.
I wish I had some persons who help me with that, so I get my payment on time.
How do you people do in those cases?
Perhaps all of you who have replied, and Paul with my following question . . . I had several friends over to my home yesterday and they all were admiring my work hanging on my walls. Someone said “hobby” within a conversation with me. They’ve all known me for over 20 years. I’ve only been seriously showing and selling my photographs and paintings for the past few years. Politely, I wanted to correct her. So here’s the question: How would you reply using only one or two sentences? Thanks.
To many, anything you do that is not your primary source of income is a hobby. You could say (with a smile), “It’s not a hobby, I WORK at it!”
“Hobby” originally came from hobby-horse, the children’s toy, with the meaning that it is something that never really goes anywhere. So the word is insulting to anyone who takes their avocation seriously, even if it isn’t their primary income source.
I am very confident that I’m riddled with self-doubt. But it helps to relate to peers, or vastly more skilled contemporaries, who talk about it and even express similiar feelings. Thanks Paul!
Setting a price is also something that’s always seemed incredibly nebulous to me. I’ve recently talked to a business adviser who said similar things to Kyle V. Thomas, in these comments; but as someone finally considering taking the leap (with a safety net) I wonder if trial and error is a way to go. Start small and shimmy the price upwards…?
Dear Paul: I have been painting for 50 yrs. now. The art industry has changed with our Hi-tech knowledge, plus new houses have more windows and small wall spaces. The gallery systems have changed, (lots of closings) EVERYONE IS AN ARTIST! in the past I’ve sold my work in the low thousands, now I’am lucky to get 400.00 dollars today. Online has taken over. No one wants to talk face to face anymore, just click on those dam smart phones.I tried to start a co-op only one artist was interested, People have lost their imagination. In closing most judges of art don’t even know what technique or palette knife or brush work mean. The love of painting is the only event that keeps us going.
I have been painting nearly all my life, about 70years, well not quite, I would have been a baby. I used to sell more. I think art is a strange business and some of how successful artists are is who they know rather than how skilled they are. You can take a look at what has sold recently on various sites and it looks as if a child has painted it, one not much more than a baby. I think more people are painting now days. I also think people are being careful with their money, especially here in the UK, with Brexit hanging over us. I have had a website for five years now, sold several in the first two years, then only two, through the site, in the last three years. Hardly any visitors, on or two a week at the most. I feel that I am a speck of dust on a planet.
I you do have time to visit my site, perhaps say something on my forum page, it could help and if you leave your web address I will reciprocate. http://www.artjanetdavies.com
I live in Australia – the forgotten country when it come to art and exposure to it. I’m an author and artist, i’ve Published five novels and paint on a weekly basis, I teach English two days a week and have a family. If you think promoting art is hard try promoting a book!! Basically impossible to be noticed among millions of authors. Painting gives me a break from the clutter and inner voices of my fictional characters in my books. I’ve gotten used the rejections from agents and publishers over the years and now I’m going to embark on the art rejection world- I’m going to approach some galleries. My husband doesn’t understand why I put myself through the torture of constant rejection but when you love doing something so much you have to try. I’m the most incompetent person with technology and find that trying to market and expose my work takes away all the magic from painting and writing. I’ve tried and failed, reviews on Amazon, blogs, Facebook ads, it all takes time and energy especially if you don’t know how to navigate those platforms.
All the best to all you wonderful artists, don’t stop painting just beacause someone prefers to pay thousands for a painting with a dot and stripe but a well knows signature. People recognise a painting that requires skill and talent.