Art is not something anyone physically needs. You can’t eat it, you can’t wear it, it’s not a financial investment. How do you find people who have the emotional drive to buy art. Furthermore, these people also need to have the surplus wealth to spend. In addition the buyer needs to like the type of art I make, and the particular kind I have created. They also have to be ready to buy when I’m ready to sell. Given this outlook, It’s seems almost impossible to find a regular stream of available buyers.
I’m following the suggestion given to follow people on Instagram that appear to have interest aligned with my art. But instead of potential collectors the responses is overwhelmingly from other artist liking what I do. They are also the followers. That’s all very nice,but I can’t see the connection to potential buyers from this perspective.
There was one sing up to my newsletter from a link in Instagram. I don’t have anyway to know if the person is a potential collector. But that was one person from dozens that have already visited without sing up.
The results so far from Instagram again only reinforced my suspension that selling art is a sporadic event mostly based on l luck .
Everything you say Ed is true. You have good writing and observation skills. I have been selling my work for a few decades and things have changed so quickly that I’m essentially starting over with building a new audience. As I said above, Calvin Goodman advised me that the art market is not the mass market. Your personal market will most likely be built over time, maybe even a a few years, but being in the art business isn’t all that expensive and most sales venues don’t require a huge investment from the artist.
This may seem obvious but it’s not just marketing that sells art - it’s the art first and foremost. If it’s not that good or doesn’t connect with an ample audience, then following all the sales advice may not result in sales.
It’s not really luck… maybe a little sometimes. I’ve been asking artists at all levels how they make sales. Some make a handsome living (most have been selling for decades who do this), and many sell regularly but not for astronomical prices and these artists don’t make enough to make a living but enjoy an extra stream of income. That’s my goal. I enjoy selling my work. It makes me want to paint more.
I have sold work to other artists and bought work from other artists. Many times, I know them in real life.
Your work with social media is like scatting seeds. You never know which ones will sprout.
If your work gets popular with other artists, they will be those who will buy small unframed works, sketches, reproductions, and even instruction if that’s your thing. None of this happens instantly for most of us, so please avoid worrying that you’re doing something wrong.
I too will be watching the webinars. Many of my previous collectors were old to being with and have died, so I’m looking to build a new following. My first goal (while I learn the latest algorithms) is to create a new cohesive and engaging body of work. Since I’m not working with galleries, I am able to experiment with a newish style. While many of my followers on Instagram are artists, I pay a lot of attention to which images get the most likes (and I never get a ton of them). If it goes over 100 or 150, I pay attention because I know that piece engaged with human beings. I have to ask myself what about it did that.
I recently read a blog that explained how to make a reel out of still photos and set it to music. I did that for a bunch of portraits and set it to “In my Life” by the Beatles. Got a ton of views on that one reel and my audience and likes grew - and folks other than artists. Even galleries are following my posts. I didn’t expect that. I’m just planting seeds and seeing what crops up. Marketing is experimentation too.
I appreciate that Clint has created this community. I’m learning a lot and we can share what is really working for us as well as ask the obvious questions that you have.
Thank you very much for the thoughtful and instructive advise. As I mentioned earlier when you comment I’ll listen. You are a person of many talents. I’m glad to know of you.
Next week boldbrush is doing a webinar about how to overcome what you’re talking about, we had it this Wednesday it was - the five steps to successful studio sale / happening next Wednesday at 6 PM eastern. Bring something to write with you will want to take notes! 
Thank you Olya. I’m looking forward to the webinar. I learn from each one. Even for those of us who’ve been professional artists for sometime are learning to navigate and keep up with new ways to show and sell our art. It’s actually exciting.
I love your mindset Lori! I am the same way. A beginners mindset - is something a few of my business friends preach all the time / because we should never stop growing or learning . The world is not constant - The only thing that is constant is change . Haha I believe there’s always ways that I can improve what I’m doing and how I’m doing it and if I ever get stagnant and act as if I think that I know everything - that is when I will stop growing and it will cap my success. 
Olya, I did watch your presentation yesterday. None of the posters shown on colored backgrounds were visible. Suggest you use white backgrounds. You had valuable info!
David thank you for that feedback! yes that was an issue that we did not for-see; when streaming a video from a hard drive to zoom it blurs out the text and color. Zoom uses a much lower resolution. I’ve forwarded this to Boldbrush marketing team and that is going to be changed!:) thank you again for following up and for attending! Boldbrush has a full schedule lined up with more resources to be released here for SOV Artist members!:) 
Would like to know how one goes about finding customers. I'm going to assume it is via a good marketing strategy. I am a digital artist and currently sell either via fine art websites or via POD websites (for designs on apparel). I have a website and am on IG. I've seen a bunch of folks on the internet advertising their classes as THE way to learn how to market (and, for most of them, selling classes is the way they make money, not by selling fine art or art on fabric), so I'm not interested in their classes.
Which brings up these questions (which are related):
- How would one find subscribers for a newsletter?
- How does one use IG to market?
- What are the best way to find customers to market to?
So a lot of the questions you have are actually already answered in the paid version of “the sovereign artist club “ here on substack. There’s two video courses in there that you may want to check out that Actually address your questions: how to grow your Instagram and: the five steps to a successful Studio sale. Boldbrush has them currently available via zoom for free for everyone. the Instagram one is today at 6 pm Eastern and the replay of the 5 steps to a successful studio sale is next week wed at 6pm est as well. I’m looking at the feed here and I see a link was posted for Zoom for anyone that wants to join!
I am on Facebook and have, of course, a FASO website. I send out newsletters regularly/monthly to over 300 subscribers. I spend a lot of time checking emails, website traffic, etc., etc. I do not have an Instagram account and I am reluctant to get involved with yet another time consuming social media platform. Is it really that important?
You should join boldbrush webinar today , how to grow your Instagram . It specifically covers how to set it up properly so you start off on the right foot and don’t make some common mistakes that a lot of people make. I believe he should be getting an email if you’re subscribed to this newsletter. I’m sure something will be posted as well here with the link to Zoom.  i’d also like to add that because Instagram and Facebook are both owned by Facebook it is very simple to connect your Facebook art page to your Instagram art page and so you’re able to post one time to Instagram and it post automatically to Facebook. With posting reels which is what helps you grow and we cover that in the webinar, those ones you manually have to push through but since you’ve already created it it’s very easy to make sure it appears on Facebook:) and then you just copy your caption that you already wrote on Instagram. I agree with the other commenters I don’t use my Facebook as much anymore because I’m trying to connect with buyers that are not just in my region I feel that Facebook is best for connecting locally in the community versus Instagram is best with global. It really does open up your world and drive a lot of traffic to your side if you set it up correctly. 
Lori, not yet! It is at 6 PM Eastern today! I do see a post here on Sov Artist with link, i Will trying to copy paste it for you here in the comments :)
Hi David, I’ve gotta go paint soon, but just want to say that I have found that Instagram, being mostly just images and videos (without distracting discussions) works better to showcase my artwork. It takes very little of my time compared to Facebook. After I started posting my art on Instagram, I really didn’t need Facebook. I’ve been getting a lot of visits to my website from Pinterest lately and haven’t updated that in eons. So there ya have it!
Up to you. Again, use a painting that’s not precious. I’d watch Brienne Brown’s Youtube videos first - she also shows how to glue the paper to a panel (both before painting and after). She essentially uses the same process I do. I’m painting i acrylic and oil these days, so I haven’t posted an how-to on my website.
Congratulations on the size of your subscribers list….so far on Instagram my followers are mostly other artist who like my work. They are likely not future collectors .
Ed.. I’ve sold plenty of art to other artists and have bought art from fellow artists. It isn’t an empty market. I’ve been able to grow a non-artist following pretty easily because I paint actual natural places where people hike, vacation, and photograph. Unless you paint purely abstract, you can search for hashtags or posts that connect to your subject. My audience enjoys RVing, camping, traveling, so they are more likely to buy my small paintings because they’re rarely home. These kinds of things require putting on your thinking cap and then spending some time on Instagram finding others who are likely to connect to your art. When you find people on IG, follow them, comment positively on their posts but don’t try to sell to them. Usually they Will click on your avatar to see what you do and if they like you’re posts, they’ll follow you back. If they don’t follow back, don’t worry about it. Some will engage over time, and others won’t.
I wish I could answer that in one comment but that’s actually a better scenario than you realize. Do you want more info there is a webinar today about how to grow on Instagram there is a post that just went out that has the zoom link. I’m facilitating the session but the speaker and presentation is fantastic !
Hey! In Yesterdays zoom Boldbrush workshop - the five steps to a successful studio sale - there was a gal, Becca she’s actually local in Oregon where I’m at, had a question and I thought this would be a good place to ask on her Behalf for suggestions and input - how does one find other artists like themselves, tips on network with other artists successfully - She does a lot of figurative art and a lot of the artists here locally in pdx differ in their styles and the struggle is connecting and making “Artist Friends” to be able to successfully do that step in the course where you work with six friends to share each other’s work on social media ...  if anyone has suggestions please chime in! She’s a soar sub, not the paid version I don’t think but since this is open to everyone, My hope is she will see this question, and the responses and I can also share the answers with her at the end of todays Instagram growth course if she joins.:) my personal answer would be social media - searching out artists in my area that have similar styled art.. And hitting them up in the DM’s haha or engaging with them on their posts . And then reaching out about getting together with a bunch of artist locally may be hosting something in my home etc but I’m also 36 and that’s some thing that others in my age group would do. It’s different for other generations and other people. 
If she is paints figurative art, she might contact the State Ambassador for Oregon for the Portrait Society of America. I am headed to their National Art of the Portrait Conference next week in Atlanta. If she goes to their website, click on services, and it gives a list of State Ambassadors. They should be a good resource for networking and activities with other artists in OR who paint figurative and portrait art.
Commenting a correction on my own comment here -I said I’m 36 I’m actually 37 I forgot how old I am ...isn’t that sad I didn’t look right so I actually had to do the math 🤣 Sidenote the past few years has been a blur. 
Regarding making contacts, I joined the Pacific Northwest Sculptors group, Portland based, and they publish contacts and up-coming shows (includes varied mediums) in the region and beyond. I can send a copy of their latest listings - Contact me: dmartin37art@gmail.com. Example: I am preparing a sculpture/wood carving for a 2023-2024 show being proposed in Eugene, OR that this group of sculptors is setting up. PS - I personally live in extreme northeastern Oregon's Wallowa County.
Marketing is exhausting. Last year, I sold more that I ever have and it was the year that I advertised in national magazines. This year I really don't have the funds to advertise as I haven't sold a thing this year!! Now what?
Did those ads result in newsletter subscribers? Do you have the contact info of the folks who bought your art? f I were in your place, I wouldn’t spend more on ads and just concentrate on staying in touch with those who have bought your work. They are likely to buy again, and then there is word-of-mouth with those buyers to their friends and family. When I’ve gotten a collector, they often return to my website and buy again (and I ask them to sign up for my email newsletter if they haven’t) We artists don’t need thousands of fans to sell work… just a few fans who enjoy buying original artwork and connect to what we make.
It has been my experience that the general public is impressed when they see my magazine advertising and don't always connect the dots that I paid for it. It has helped with some new sales just because it leaves the impression that I am a professional artist and therefore, my art must be good. Some of the new collectors subscribe to my newsletter. For those who don't, I try to keep in touch by email. Then there is the one in California who doesn't have a cell phone and doesn't email so it is hard to communicate with her. I send newsletters once a month and get some positive feedback but not sales directly from them. Once a year, I have an open studio event which is well attended and I have sold paintings that way. This year, I am in two galleries in Oklahoma but haven't seen any sales from them yet. I am in touch with my most prolific collectors in person, by phone and email. Nothing seems to be working.
My marketing mentor, Calvin Goodman, now long deceased knew that the art market isn’t the mass market. It takes time to sell art and build relationships - whether one is a gallery owner or an artist. It’s good that you have multiple venues for your sales. I’ve worked with galleries that were in resort areas (those tend to sell best) and their sales are seasonal. I sold some through galleries, but at that time, I had a friend who was in 7 resort galleries. She sold well but here and there at each gallery which added up. She also did a number of summer outdoor shows. She was never an overnight success, but with word of mouth and constant showing in multiple galleries she was able to make a good living.
Congrats on your open studio. That makes sense because people who attended came to see your art specifically. In a gallery, your work is competing for sales with the other artists.
The great thing about your art website and newsletter is that once someone arrives at your website, all that person sees is your art. Even on social media, folks can’t remember what they saw two scrolls previously.
Don’t fret too much over the person who can’t get your email. Concentrate on those who can. The ads did help you but if you can’t really afford to continue, you can find other ways to connect to those who love or will love your art. Just keep in mind that people generally don’t make a purchase of art the first time they see it on your website or newsletter. But the more often you send newsletters, the better it stays in their minds. I get an art newsletter from a FASO artist who has been putting out one 2 to 4 times a month. I never mind, and yes, she sells pretty well from her website and also works with a gallery and other venues.
I don’t know if you have access to a lot of the paid Contant on here but there are some really good articles that I think you’ll find helpful that will help you overcome not challenge! Next week on Wednesday there will also be a free webinar about the five steps to a Successful Studio Sale - meaning not discounted but like actually selling. If you’re subscribed you’ll get an invite So you know when to attend
This is hard to answer because there are so many levels of art collectors and each has their reasons for buying. I’ve befriended some “professional” art collectors over the years, and I have to say that those I know buy because they love art and enjoy supporting artists in their careers. Then there are those who buy because they want to enhance their home and enjoy having original art - defining their tastes. I’m sure there are many other types of art buyers.
Some are content to buy reproductions and don’t care if it’s original.
Still this is a hard question to answer because there are many styles and types of art, and folks buy each type for different reasons. I do know that the majority of time, people buy because they connect with the art on an emotional level in some way. Others develop their taste in art over time (which can change over time too).
But to answer your question from an artist’s point of view: Collectors look for consistency in style or presentation. It’s best when a collector can look at a wall of your work and see that it’s all painted by one artist. I’ve heard it said recently on a podcast that artists each have their own DNA and therefore their own way of mark-making. As human beings, we naturally follow our own way of creating. It’s up to us individual artists to find and develop our natural ability in a way that pleases ourselves rather than guessing what someone else might want. I’ve never been happy creating for some market that I imagine might want my work. That said, I do keep track of selling trends and see where my work best fits.
So… develop your work, create often, please yourself - do the very best work you can with quality materials and then post as you go. If you love creating it and enjoy the results, someone else will likely feel the same way and connect with your work.
Thank you Ed. I wrote for FASO’s Fine Art Views for almost ten years, so I did constant research on art marketing, but I’ve been out of the loop lately because of life circumstances. I have been selling my work since the mid-1990s through various venues and I’m friends with many famous artists and art collectors - because I wrote for art magazines for 20 years. It was a great way to connect with artists who are successful in all price levels. I’m happy to help whenever I am able.
Selling art is the worst part of making art, particularly if your not famous. Even worse if you have no buyers! I keep hearing if you do ABC123 consistently you are going to sell art! Every program out there who is promoting sales, has the secret ingredient, and when you find the secret ingredient(s) and you have mastered every ritualistic ABC123, and you combine that with another group of master tools you must need to do, and then more sets of things you must do, you get a lot of things that may work for some folks due to location, luck and stamina! One size does not fit all. Everyone’s situation is different. If some gallery just doesn’t like your work you are not going to be in that gallery and probably and more than likely the other galleries too. It’s a tough road, particularly if your old which I am. My art career is dwindling and not moving forward because I’m just tired. Life has gotten in the way. I don’t get to see or talk to anyone anymore because Covid has just wiped the slate clean. I spend most of my days in physical work not art work. And it appears we are in for another round in the near future. Sorry, I don’t have anyone else to talk to these days…about art, life etc. Hoping for the best but preparing for the worst.
Now what were the 736 steps to sell an art work? Just kidding, but perhaps for most of us it all turns into a fuzzy ritual that still doesn’t increase my chances of ever selling art…do other folks feel this way or am I the odd man out? I have seen so many guidelines on what to do, I just turn off, due to overload. This is not a career, that is what I have to tell myself because it is not a career in the real world for me. I have already had multiple careers and retired. When I sell something, which is extremely rare, I don’t get excited because I am having to sell it at a reduced cost just to have a sale. That is my reality. How do other folks keep themselves energized and hopeful ? I love creating works, and in local galleries, there is a price point, which is low just to sell something. In many cases I am losing money! I am never going to be a national or international well known artist. I have to get real not be a “dreamer” to continue this process. Best wishes to you all…
I'm a free-er just now. Your check-in request makes no sense to me. My BIG issue has to do with IG posts going not to my Professional IG page but a 2nd IG account! Guess I need to make the latter one a personal account. The basic issue is that my Prof. IG acct. has a user-name that is the same as the account name of the 2nd IG acct. I have tried everything in my power to change the user name with NO luck! Perhaps changing the 2nd IG acct. to a personal account will solve this situation!?!
Just finished the zoom webinar on Instagram. I’ve got a lot of work to do. Olya, you did an awesome job of answering questions clearly and sharing your own experience. Laura’s presentation was to the point and easy to understand. I have 4 pages of notes. I finally understand how the algorithm is working. Thank you to all who made the webinar possible.
I price smaller pieces at a higher per square inch number and very large pieces at a lower per square inch number. But essentially, my goal is sell my work at a profit after all my expertness (including supplies, framing, and commissions) are accounted for. I try to never sell at a loss. If you add up all the money it cost you to create and sell the work, and then add your profit margin onto that you’ll be surprised at how high the price will be. On top of that, I want to be paid for my expertise as an artist. I’ve seen that many new-to-selling artists price their work so low that they don’t actually make any money after expenses and certainly not for the time they put into the artwork itself.
Oh it's so hard for me to understand how one can sell visual art by the square inch.... You certainly don't sell a song or a melody by the number of letters or words... you don't sell a ballet by how many people are in the ballet.. you don't sell a book by the number pages... art has to have content.... In order to be appreciated.... of course there is the market and if you are a beginning artist or haven't sold much then you can't be so naïve think that your work is on a par with someone that's been around for a while and is actually selling... so you have to understand where you are with your work, how attractive and appreciable it is and stick to your guns... if you think one of your pieces is better than another piece of yours, whether large or small... Price it accordingly.... 'Square inch' selling takes the art out of art and trivializes the work
Darryl, you make a great point but one has to separate making art from selling art. Pricing paintings by the square inch, or less offensive sounding, by size, is only a way to be consistent with prices.
Thanks for your reply David...Just because a piece is bigger and thus more expensive doesn't necessarily mean it's a better piece of art...by the same artist.. too Distorted for my taste.. There is art that garners a lot more attention/appreciation then other art and lo and behold it has nothing to do with size but content... And for the sake of the artist, not the customer, should be priced accordingly
That may be true, Darryl. But who is to say if a work is good or not ... the artist? As I said before, one has to separate creation from marketing or selling. After all is said and done, the painting is the property of the artist so she can make it available or not, and set whatever price she wants.
Again, David - very good point as this is how art pricing is generally done. . You’re absolutely right about keeping creation separate from marketing. Pricing can’t be emotional. Many times, it’s difficult to evaluate the worth of our own work. Buyers generally expect price to follow size. Darryl, you can experiment with pricing anyway you’d like if you’re selling on your own. A gallery will want more consistency. Then when someone asks about size vs price, you can have your answer ready.
I took Jason Horesj’s course a couple of years ago. The homework was to find established artists online who paint similarly to my work and look at their prices. I did that for half a dozen artists. One thing that Jason mentioned is that when he shows an artist in his gallery, his clients don’t ask how famous the artist is - which means that newer artists he takes on don’t have to have lowball prices. In fact the prices just need to be in line with those of the other artists in the gallery. So you’re correct Darryl.
On the other hand, I would argue against pricing one’s work by how well you like it because many times, paintings I love don’t connect and those I don’t care for end jump selling right away. Therefore, I have priced by the square inch in order to keep my prices consistent. My small works cost more per square inch and my large works cost less so that there’s no huge gaps.
Because I’m entering the market again, I’m starting by pricing my medium sized works (IE 16x20) at a price that covers all my expenses and then gives me a profit when the painting is sold. This includes the frame, supplies, and shipping - everything that it costs me to make and sell the work. Sometimes it’s easier to figure out what those numbers are and then add what you want for your time and expertise onto that.
Best places to enable your collectors to see your art is direct email to them and your website. Best place to find new audience members and make them aware of you and work through the process of turning them into collectors is social media. You are selling both. You and your art, for most people, are one "product". I'm open to other replies too! I'm just answering as I see it.
People who see and love your art want to know about the person who made that art. Just tell them who you are and why you create what you do. Buying art is an emotional decision for most. Buyers want to know that you’re human. We don’t need to act like commissioned-based sales people at all.
Remember, when talking to people about your art, being interested in them (What Jack White used to advise) with a smile helps you and them to feel more at ease. It’s also OK to get compliments on your work from others. The only answer is: “Thank you very much”. If you don’t thank them, you insult their opinion. Develop a persona who is comfortable with your art ability and the fact that people enjoy your work. If you must, pretend inwardly that you’re selling a friend’s work. People want you to be confident and yet not pushy. Smile a lot.. and if it’s online, smile in your words.
Someone else may weigh in on this, but the answer to this question is essentially what we are covering for paid Sovereign Artist club members. Currently we have a video and detailed set of posts explaining how to do it on Instagram and move them to email and ultimately sell via a studio sale. This process has been extremely effective for several artists who've actually done it.
Hi Clint, Thanks for those videos. I’ve been short on time but hope to watch them very soon and take notes. I’ve been away from painting for awhile and am back at it with a new plan. I want to take advantage of FASO’s print-on-demand service. I’m excited.
Absolutely. I see Clint says below to offer unframed. Is this a watercolor that you’re selling? I , and many other artists (even those who show in galleries) are no longer using mat and glass for watercolor. They are mounting the watercolor on panel and varnishing, therefore framing like an oil. I’ve been doing this for nearly 20 years. Varnishing saves me a lot of money and the watercolors look beautiful - with no fading. Or… as Clint offered, sell unframed and let the buyer decide. Unframed works are so easy to ship too.
I do work in all mediums, so for my acrylics and oils, I just frame them, but for my graphite, colored pencil, watercolor, gouache, and pen & ink, I mat, glass, and frame... except I have been waxing a lot of my watercolor and no mat/glass required. I do offer most of my work framed or unframed, but if entering a show, it has to be framed. I've been trying to standardize my sizes more so if a piece doesn't sell at a show, I can remove it from the frame (mat/glass) and pop in another for a different show. But sometimes an existing frame doesn't well with a particular piece.
Gary, your mention of waxing peeked my interest. I work with egg tempera and have recently been using a wax medium (Dorland’s) to finish my paintings with. I have been curious about trying it on watercolours as well. Do you need to spray anything on the wc first before waxing them?
David, I haven't sprayed my watercolors with anything so far, I usually apply 3 thin coats of Dorland's wax, letting dry, then buffing each layer. Some people have said they use a UV spray first before waxing but I don't.
Yes, I rub it on, straight from the jar. I use my fingers. I tried with neoprene gloves but it's hard to feel the coverage. So far haven't had any allergic reactions to the wax, but I only use it once a month or two. If I was waxing every day I might go back to the gloves.
I have finished several watercolours by glueing onto a prepped surface like birchwood cradled panel sealed with GAC100. I use matte medium as a glue as it is archival. Once dry, you coat the surface of the watercolour (no other fixative needed) with cold wax medium and gently buff off the excess. Done! A matte finish, repels water and preserves the painting.
Thanks Barbara. Since I last posted, I pulled out a small (not so good) watercolour and rubbed on a layer of Dorland’s wax medium. I will buff it tomorrow, and probably repeat that process in the coming days. Thanks for your input.
David, I just realized your the egg tempera painter from Canada. I believe you and I are the only egg tempera painters here. I varnish with Krylon mate finish. It leaves the surface looking much the same as the semi gloss surface in unvarnished tempera. I’ve never used wax medium. Have you sprayed with Krylon.
No Ed, I haven’t used anything yet except the wax medium. So far I like it a lot. I’m afraid that the mat varnish might change the appearance, even although very slightly.
Lori, I know other artists, and have seen other watercolours presented this way. There are advantages to traditional framing with glass when it comes to protection from dirt and scratches, etc. However, my main concern with varnished watercolours is the texture that the sprayed varnish makes. It seems to me that this rough texture would be an ideal dust collector. Maybe that is an occurrence with only the varnished watercolours that I have seen first hand.
I work on 300lb cold pressed so it has a texture anyway. I use a 2-step process. First fix the watercolor with Krylon Crystal Clear and then brush 2 coats of acrylic gloss varnish over that. The varnish doesn’t leave much texture because the paper is still absorbent enough that the only texture I see when done is the texture of the paper. I never use matte varnish because that has white particulates added and makes the painting look foggy. As far as dust goes, our oil collection sure has lots of dust in the crevasses… BUT, I can wipe my varnished watercolors off with a damp cloth because it is waterproof.
If you prefer traditional framing for watercolor - no harm there! I started varnishing my watercolors around the year 2000 because at outdoor shows, I realized that the viewers couldn’t tell the difference between my Giclee prints and originals because they were both framed with mat and glass. They always bought the print because it costs less. I’ve had better sales with my varnished paintings and some have not faded in 20 years.
Brienne Brown and Robert McFarland both varnish their watercolors and sell them in galleries. When the watercolor is varnished, the paint looks like it did when it was wet. Brienne Brown has a great How-to video on varnishing. If you try it out, use a painting that isn’t precious. But, as I said, it’s a preference. Just wanted to say that as far as dust goes, it’s less of a problem than with oils.
I believe the varnished pieces that I have seen were varnished by spraying first with a gloss medium, and then followed by several sprayings of a mat varnish. You mentioned brushing on the final varnish, instead of spraying, which seems like a much better option. Thanks for your detailed post. I must give it a try.
Yeah, I’ve seen a similar process. I’m still afraid of the matte varnish since I ruined a portrait with it. I’m sure it works fine. The work MUST BE SPRAYED to fix the watercolor. If you brush on varnish without spraying your watercolor will run everywhere. I’ve made that mistake too. For me, two coats of spray to fix and two coats of gloss brush-on (UV Protective) acrylic varnish is enough. The glossy brush-on doesn’t stay glossy because it soaks into the paper a bit as well.
well, I’ve gotta get to the studio now. Thanks for the chat. I think I may have gotten off topic a little, but so be it (smile) Hope you have a good day David.
Are you clicking on it from an email then it should open up the app and if you’re already signed in it will recognize that you are a paid member. It’s the “ substack “ app otherwise if it opens up an Internet window not sure if you’re an apple or an android user if Apple it will probably be Safari and that’s where you can login by clicking on the upper right I believe it’s the upper right, Anyway once you’re logged in it will recognize that you are a paid member:) and if it’s not recognizing your email maybe there’s an issue with the email that you signed up with and all you Gotta do is reach out to them and I’m sure they’ll fix it:) 
Art is not something anyone physically needs. You can’t eat it, you can’t wear it, it’s not a financial investment. How do you find people who have the emotional drive to buy art. Furthermore, these people also need to have the surplus wealth to spend. In addition the buyer needs to like the type of art I make, and the particular kind I have created. They also have to be ready to buy when I’m ready to sell. Given this outlook, It’s seems almost impossible to find a regular stream of available buyers.
I’m following the suggestion given to follow people on Instagram that appear to have interest aligned with my art. But instead of potential collectors the responses is overwhelmingly from other artist liking what I do. They are also the followers. That’s all very nice,but I can’t see the connection to potential buyers from this perspective.
There was one sing up to my newsletter from a link in Instagram. I don’t have anyway to know if the person is a potential collector. But that was one person from dozens that have already visited without sing up.
The results so far from Instagram again only reinforced my suspension that selling art is a sporadic event mostly based on l luck .
Everything you say Ed is true. You have good writing and observation skills. I have been selling my work for a few decades and things have changed so quickly that I’m essentially starting over with building a new audience. As I said above, Calvin Goodman advised me that the art market is not the mass market. Your personal market will most likely be built over time, maybe even a a few years, but being in the art business isn’t all that expensive and most sales venues don’t require a huge investment from the artist.
This may seem obvious but it’s not just marketing that sells art - it’s the art first and foremost. If it’s not that good or doesn’t connect with an ample audience, then following all the sales advice may not result in sales.
It’s not really luck… maybe a little sometimes. I’ve been asking artists at all levels how they make sales. Some make a handsome living (most have been selling for decades who do this), and many sell regularly but not for astronomical prices and these artists don’t make enough to make a living but enjoy an extra stream of income. That’s my goal. I enjoy selling my work. It makes me want to paint more.
I have sold work to other artists and bought work from other artists. Many times, I know them in real life.
Your work with social media is like scatting seeds. You never know which ones will sprout.
If your work gets popular with other artists, they will be those who will buy small unframed works, sketches, reproductions, and even instruction if that’s your thing. None of this happens instantly for most of us, so please avoid worrying that you’re doing something wrong.
I too will be watching the webinars. Many of my previous collectors were old to being with and have died, so I’m looking to build a new following. My first goal (while I learn the latest algorithms) is to create a new cohesive and engaging body of work. Since I’m not working with galleries, I am able to experiment with a newish style. While many of my followers on Instagram are artists, I pay a lot of attention to which images get the most likes (and I never get a ton of them). If it goes over 100 or 150, I pay attention because I know that piece engaged with human beings. I have to ask myself what about it did that.
I recently read a blog that explained how to make a reel out of still photos and set it to music. I did that for a bunch of portraits and set it to “In my Life” by the Beatles. Got a ton of views on that one reel and my audience and likes grew - and folks other than artists. Even galleries are following my posts. I didn’t expect that. I’m just planting seeds and seeing what crops up. Marketing is experimentation too.
I appreciate that Clint has created this community. I’m learning a lot and we can share what is really working for us as well as ask the obvious questions that you have.
Thank you very much for the thoughtful and instructive advise. As I mentioned earlier when you comment I’ll listen. You are a person of many talents. I’m glad to know of you.
Next week boldbrush is doing a webinar about how to overcome what you’re talking about, we had it this Wednesday it was - the five steps to successful studio sale / happening next Wednesday at 6 PM eastern. Bring something to write with you will want to take notes! 
Thank you Olya. I’m looking forward to the webinar. I learn from each one. Even for those of us who’ve been professional artists for sometime are learning to navigate and keep up with new ways to show and sell our art. It’s actually exciting.
I love your mindset Lori! I am the same way. A beginners mindset - is something a few of my business friends preach all the time / because we should never stop growing or learning . The world is not constant - The only thing that is constant is change . Haha I believe there’s always ways that I can improve what I’m doing and how I’m doing it and if I ever get stagnant and act as if I think that I know everything - that is when I will stop growing and it will cap my success. 
you’re so right. changes move quickly now.
Olya, I did watch your presentation yesterday. None of the posters shown on colored backgrounds were visible. Suggest you use white backgrounds. You had valuable info!
David thank you for that feedback! yes that was an issue that we did not for-see; when streaming a video from a hard drive to zoom it blurs out the text and color. Zoom uses a much lower resolution. I’ve forwarded this to Boldbrush marketing team and that is going to be changed!:) thank you again for following up and for attending! Boldbrush has a full schedule lined up with more resources to be released here for SOV Artist members!:) 
Would like to know how one goes about finding customers. I'm going to assume it is via a good marketing strategy. I am a digital artist and currently sell either via fine art websites or via POD websites (for designs on apparel). I have a website and am on IG. I've seen a bunch of folks on the internet advertising their classes as THE way to learn how to market (and, for most of them, selling classes is the way they make money, not by selling fine art or art on fabric), so I'm not interested in their classes.
Which brings up these questions (which are related):
- How would one find subscribers for a newsletter?
- How does one use IG to market?
- What are the best way to find customers to market to?
Thanks
So a lot of the questions you have are actually already answered in the paid version of “the sovereign artist club “ here on substack. There’s two video courses in there that you may want to check out that Actually address your questions: how to grow your Instagram and: the five steps to a successful Studio sale. Boldbrush has them currently available via zoom for free for everyone. the Instagram one is today at 6 pm Eastern and the replay of the 5 steps to a successful studio sale is next week wed at 6pm est as well. I’m looking at the feed here and I see a link was posted for Zoom for anyone that wants to join!
Oh cool Olya. I’ll be there!
Exactly my perception. You hit the nail on the head, as they say.
I am on Facebook and have, of course, a FASO website. I send out newsletters regularly/monthly to over 300 subscribers. I spend a lot of time checking emails, website traffic, etc., etc. I do not have an Instagram account and I am reluctant to get involved with yet another time consuming social media platform. Is it really that important?
You should join boldbrush webinar today , how to grow your Instagram . It specifically covers how to set it up properly so you start off on the right foot and don’t make some common mistakes that a lot of people make. I believe he should be getting an email if you’re subscribed to this newsletter. I’m sure something will be posted as well here with the link to Zoom.  i’d also like to add that because Instagram and Facebook are both owned by Facebook it is very simple to connect your Facebook art page to your Instagram art page and so you’re able to post one time to Instagram and it post automatically to Facebook. With posting reels which is what helps you grow and we cover that in the webinar, those ones you manually have to push through but since you’ve already created it it’s very easy to make sure it appears on Facebook:) and then you just copy your caption that you already wrote on Instagram. I agree with the other commenters I don’t use my Facebook as much anymore because I’m trying to connect with buyers that are not just in my region I feel that Facebook is best for connecting locally in the community versus Instagram is best with global. It really does open up your world and drive a lot of traffic to your side if you set it up correctly. 
Thank you. You sound very convincing and helpful. I will give it a go.
Olya, has the webinar happened? I’ll try to find it. Sounds helpful.
Lori, not yet! It is at 6 PM Eastern today! I do see a post here on Sov Artist with link, i Will trying to copy paste it for you here in the comments :)
https://zoom.us/j/98623996745?pwd=YlpBS3hqTHJqYmZmWGRMbWx2eGY1UT09
Hi David, I’ve gotta go paint soon, but just want to say that I have found that Instagram, being mostly just images and videos (without distracting discussions) works better to showcase my artwork. It takes very little of my time compared to Facebook. After I started posting my art on Instagram, I really didn’t need Facebook. I’ve been getting a lot of visits to my website from Pinterest lately and haven’t updated that in eons. So there ya have it!
Thanks. I guess I should bite the bullet and give it a try. Thank you.
Up to you. Again, use a painting that’s not precious. I’d watch Brienne Brown’s Youtube videos first - she also shows how to glue the paper to a panel (both before painting and after). She essentially uses the same process I do. I’m painting i acrylic and oil these days, so I haven’t posted an how-to on my website.
Congratulations on the size of your subscribers list….so far on Instagram my followers are mostly other artist who like my work. They are likely not future collectors .
Ed.. I’ve sold plenty of art to other artists and have bought art from fellow artists. It isn’t an empty market. I’ve been able to grow a non-artist following pretty easily because I paint actual natural places where people hike, vacation, and photograph. Unless you paint purely abstract, you can search for hashtags or posts that connect to your subject. My audience enjoys RVing, camping, traveling, so they are more likely to buy my small paintings because they’re rarely home. These kinds of things require putting on your thinking cap and then spending some time on Instagram finding others who are likely to connect to your art. When you find people on IG, follow them, comment positively on their posts but don’t try to sell to them. Usually they Will click on your avatar to see what you do and if they like you’re posts, they’ll follow you back. If they don’t follow back, don’t worry about it. Some will engage over time, and others won’t.
I wish I could answer that in one comment but that’s actually a better scenario than you realize. Do you want more info there is a webinar today about how to grow on Instagram there is a post that just went out that has the zoom link. I’m facilitating the session but the speaker and presentation is fantastic !
Hey! In Yesterdays zoom Boldbrush workshop - the five steps to a successful studio sale - there was a gal, Becca she’s actually local in Oregon where I’m at, had a question and I thought this would be a good place to ask on her Behalf for suggestions and input - how does one find other artists like themselves, tips on network with other artists successfully - She does a lot of figurative art and a lot of the artists here locally in pdx differ in their styles and the struggle is connecting and making “Artist Friends” to be able to successfully do that step in the course where you work with six friends to share each other’s work on social media ...  if anyone has suggestions please chime in! She’s a soar sub, not the paid version I don’t think but since this is open to everyone, My hope is she will see this question, and the responses and I can also share the answers with her at the end of todays Instagram growth course if she joins.:) my personal answer would be social media - searching out artists in my area that have similar styled art.. And hitting them up in the DM’s haha or engaging with them on their posts . And then reaching out about getting together with a bunch of artist locally may be hosting something in my home etc but I’m also 36 and that’s some thing that others in my age group would do. It’s different for other generations and other people. 
If she is paints figurative art, she might contact the State Ambassador for Oregon for the Portrait Society of America. I am headed to their National Art of the Portrait Conference next week in Atlanta. If she goes to their website, click on services, and it gives a list of State Ambassadors. They should be a good resource for networking and activities with other artists in OR who paint figurative and portrait art.
Hi Scott! Have fun at the PSOA! Great advice.
Hey Scott! This is fantastic advice, thank you!!! I will make sure to pass this on! This is exactly what she needs! 
Commenting a correction on my own comment here -I said I’m 36 I’m actually 37 I forgot how old I am ...isn’t that sad I didn’t look right so I actually had to do the math 🤣 Sidenote the past few years has been a blur. 
Regarding making contacts, I joined the Pacific Northwest Sculptors group, Portland based, and they publish contacts and up-coming shows (includes varied mediums) in the region and beyond. I can send a copy of their latest listings - Contact me: dmartin37art@gmail.com. Example: I am preparing a sculpture/wood carving for a 2023-2024 show being proposed in Eugene, OR that this group of sculptors is setting up. PS - I personally live in extreme northeastern Oregon's Wallowa County.
Marketing is exhausting. Last year, I sold more that I ever have and it was the year that I advertised in national magazines. This year I really don't have the funds to advertise as I haven't sold a thing this year!! Now what?
Did those ads result in newsletter subscribers? Do you have the contact info of the folks who bought your art? f I were in your place, I wouldn’t spend more on ads and just concentrate on staying in touch with those who have bought your work. They are likely to buy again, and then there is word-of-mouth with those buyers to their friends and family. When I’ve gotten a collector, they often return to my website and buy again (and I ask them to sign up for my email newsletter if they haven’t) We artists don’t need thousands of fans to sell work… just a few fans who enjoy buying original artwork and connect to what we make.
What you say makes sense. I guess it’s imperative to network with a very select few.
It has been my experience that the general public is impressed when they see my magazine advertising and don't always connect the dots that I paid for it. It has helped with some new sales just because it leaves the impression that I am a professional artist and therefore, my art must be good. Some of the new collectors subscribe to my newsletter. For those who don't, I try to keep in touch by email. Then there is the one in California who doesn't have a cell phone and doesn't email so it is hard to communicate with her. I send newsletters once a month and get some positive feedback but not sales directly from them. Once a year, I have an open studio event which is well attended and I have sold paintings that way. This year, I am in two galleries in Oklahoma but haven't seen any sales from them yet. I am in touch with my most prolific collectors in person, by phone and email. Nothing seems to be working.
My marketing mentor, Calvin Goodman, now long deceased knew that the art market isn’t the mass market. It takes time to sell art and build relationships - whether one is a gallery owner or an artist. It’s good that you have multiple venues for your sales. I’ve worked with galleries that were in resort areas (those tend to sell best) and their sales are seasonal. I sold some through galleries, but at that time, I had a friend who was in 7 resort galleries. She sold well but here and there at each gallery which added up. She also did a number of summer outdoor shows. She was never an overnight success, but with word of mouth and constant showing in multiple galleries she was able to make a good living.
Congrats on your open studio. That makes sense because people who attended came to see your art specifically. In a gallery, your work is competing for sales with the other artists.
The great thing about your art website and newsletter is that once someone arrives at your website, all that person sees is your art. Even on social media, folks can’t remember what they saw two scrolls previously.
Don’t fret too much over the person who can’t get your email. Concentrate on those who can. The ads did help you but if you can’t really afford to continue, you can find other ways to connect to those who love or will love your art. Just keep in mind that people generally don’t make a purchase of art the first time they see it on your website or newsletter. But the more often you send newsletters, the better it stays in their minds. I get an art newsletter from a FASO artist who has been putting out one 2 to 4 times a month. I never mind, and yes, she sells pretty well from her website and also works with a gallery and other venues.
Hang in there.
Thanks Lori. Today I am working on getting more print of demand images up. It just seems like there is not enough time to do everything.
Yep, there’s not enough time. I do what I can ;-)
I don’t know if you have access to a lot of the paid Contant on here but there are some really good articles that I think you’ll find helpful that will help you overcome not challenge! Next week on Wednesday there will also be a free webinar about the five steps to a Successful Studio Sale - meaning not discounted but like actually selling. If you’re subscribed you’ll get an invite So you know when to attend
I do have access and try to read it all.
What do art collectors look for before they buy one's art?
This is hard to answer because there are so many levels of art collectors and each has their reasons for buying. I’ve befriended some “professional” art collectors over the years, and I have to say that those I know buy because they love art and enjoy supporting artists in their careers. Then there are those who buy because they want to enhance their home and enjoy having original art - defining their tastes. I’m sure there are many other types of art buyers.
Some are content to buy reproductions and don’t care if it’s original.
Still this is a hard question to answer because there are many styles and types of art, and folks buy each type for different reasons. I do know that the majority of time, people buy because they connect with the art on an emotional level in some way. Others develop their taste in art over time (which can change over time too).
But to answer your question from an artist’s point of view: Collectors look for consistency in style or presentation. It’s best when a collector can look at a wall of your work and see that it’s all painted by one artist. I’ve heard it said recently on a podcast that artists each have their own DNA and therefore their own way of mark-making. As human beings, we naturally follow our own way of creating. It’s up to us individual artists to find and develop our natural ability in a way that pleases ourselves rather than guessing what someone else might want. I’ve never been happy creating for some market that I imagine might want my work. That said, I do keep track of selling trends and see where my work best fits.
So… develop your work, create often, please yourself - do the very best work you can with quality materials and then post as you go. If you love creating it and enjoy the results, someone else will likely feel the same way and connect with your work.
LIFE IS SHORT, ART IS LONG
I think from now on I’ll be looking for and reading all of your comments…great advice.
Thank you Ed. I wrote for FASO’s Fine Art Views for almost ten years, so I did constant research on art marketing, but I’ve been out of the loop lately because of life circumstances. I have been selling my work since the mid-1990s through various venues and I’m friends with many famous artists and art collectors - because I wrote for art magazines for 20 years. It was a great way to connect with artists who are successful in all price levels. I’m happy to help whenever I am able.
Cachet cachet cachet... Your followers... your website... and your art... its got to click
Selling art is the worst part of making art, particularly if your not famous. Even worse if you have no buyers! I keep hearing if you do ABC123 consistently you are going to sell art! Every program out there who is promoting sales, has the secret ingredient, and when you find the secret ingredient(s) and you have mastered every ritualistic ABC123, and you combine that with another group of master tools you must need to do, and then more sets of things you must do, you get a lot of things that may work for some folks due to location, luck and stamina! One size does not fit all. Everyone’s situation is different. If some gallery just doesn’t like your work you are not going to be in that gallery and probably and more than likely the other galleries too. It’s a tough road, particularly if your old which I am. My art career is dwindling and not moving forward because I’m just tired. Life has gotten in the way. I don’t get to see or talk to anyone anymore because Covid has just wiped the slate clean. I spend most of my days in physical work not art work. And it appears we are in for another round in the near future. Sorry, I don’t have anyone else to talk to these days…about art, life etc. Hoping for the best but preparing for the worst.
Now what were the 736 steps to sell an art work? Just kidding, but perhaps for most of us it all turns into a fuzzy ritual that still doesn’t increase my chances of ever selling art…do other folks feel this way or am I the odd man out? I have seen so many guidelines on what to do, I just turn off, due to overload. This is not a career, that is what I have to tell myself because it is not a career in the real world for me. I have already had multiple careers and retired. When I sell something, which is extremely rare, I don’t get excited because I am having to sell it at a reduced cost just to have a sale. That is my reality. How do other folks keep themselves energized and hopeful ? I love creating works, and in local galleries, there is a price point, which is low just to sell something. In many cases I am losing money! I am never going to be a national or international well known artist. I have to get real not be a “dreamer” to continue this process. Best wishes to you all…
Please explain how viewers utilize Hashtags. Just how do Hashtags work & how are they utilized to bring viewers to my IG account?
I'm a free-er just now. Your check-in request makes no sense to me. My BIG issue has to do with IG posts going not to my Professional IG page but a 2nd IG account! Guess I need to make the latter one a personal account. The basic issue is that my Prof. IG acct. has a user-name that is the same as the account name of the 2nd IG acct. I have tried everything in my power to change the user name with NO luck! Perhaps changing the 2nd IG acct. to a personal account will solve this situation!?!
Just finished the zoom webinar on Instagram. I’ve got a lot of work to do. Olya, you did an awesome job of answering questions clearly and sharing your own experience. Laura’s presentation was to the point and easy to understand. I have 4 pages of notes. I finally understand how the algorithm is working. Thank you to all who made the webinar possible.
I’ve been told to price my pieces by the square inch, but some pieces require more time per square inch. What are your thoughts on pricing?
I price smaller pieces at a higher per square inch number and very large pieces at a lower per square inch number. But essentially, my goal is sell my work at a profit after all my expertness (including supplies, framing, and commissions) are accounted for. I try to never sell at a loss. If you add up all the money it cost you to create and sell the work, and then add your profit margin onto that you’ll be surprised at how high the price will be. On top of that, I want to be paid for my expertise as an artist. I’ve seen that many new-to-selling artists price their work so low that they don’t actually make any money after expenses and certainly not for the time they put into the artwork itself.
Oh it's so hard for me to understand how one can sell visual art by the square inch.... You certainly don't sell a song or a melody by the number of letters or words... you don't sell a ballet by how many people are in the ballet.. you don't sell a book by the number pages... art has to have content.... In order to be appreciated.... of course there is the market and if you are a beginning artist or haven't sold much then you can't be so naïve think that your work is on a par with someone that's been around for a while and is actually selling... so you have to understand where you are with your work, how attractive and appreciable it is and stick to your guns... if you think one of your pieces is better than another piece of yours, whether large or small... Price it accordingly.... 'Square inch' selling takes the art out of art and trivializes the work
Darryl, you make a great point but one has to separate making art from selling art. Pricing paintings by the square inch, or less offensive sounding, by size, is only a way to be consistent with prices.
It agree David. It’s a great starting place for that.
Thanks for your reply David...Just because a piece is bigger and thus more expensive doesn't necessarily mean it's a better piece of art...by the same artist.. too Distorted for my taste.. There is art that garners a lot more attention/appreciation then other art and lo and behold it has nothing to do with size but content... And for the sake of the artist, not the customer, should be priced accordingly
That may be true, Darryl. But who is to say if a work is good or not ... the artist? As I said before, one has to separate creation from marketing or selling. After all is said and done, the painting is the property of the artist so she can make it available or not, and set whatever price she wants.
Again, David - very good point as this is how art pricing is generally done. . You’re absolutely right about keeping creation separate from marketing. Pricing can’t be emotional. Many times, it’s difficult to evaluate the worth of our own work. Buyers generally expect price to follow size. Darryl, you can experiment with pricing anyway you’d like if you’re selling on your own. A gallery will want more consistency. Then when someone asks about size vs price, you can have your answer ready.
I took Jason Horesj’s course a couple of years ago. The homework was to find established artists online who paint similarly to my work and look at their prices. I did that for half a dozen artists. One thing that Jason mentioned is that when he shows an artist in his gallery, his clients don’t ask how famous the artist is - which means that newer artists he takes on don’t have to have lowball prices. In fact the prices just need to be in line with those of the other artists in the gallery. So you’re correct Darryl.
On the other hand, I would argue against pricing one’s work by how well you like it because many times, paintings I love don’t connect and those I don’t care for end jump selling right away. Therefore, I have priced by the square inch in order to keep my prices consistent. My small works cost more per square inch and my large works cost less so that there’s no huge gaps.
Because I’m entering the market again, I’m starting by pricing my medium sized works (IE 16x20) at a price that covers all my expenses and then gives me a profit when the painting is sold. This includes the frame, supplies, and shipping - everything that it costs me to make and sell the work. Sometimes it’s easier to figure out what those numbers are and then add what you want for your time and expertise onto that.
Am I trying to sell my art or myself?
Where are the best “places” to enable collectors to see my art?
Best places to enable your collectors to see your art is direct email to them and your website. Best place to find new audience members and make them aware of you and work through the process of turning them into collectors is social media. You are selling both. You and your art, for most people, are one "product". I'm open to other replies too! I'm just answering as I see it.
I guess I am uncomfortable seeming like a salesperson.
People who see and love your art want to know about the person who made that art. Just tell them who you are and why you create what you do. Buying art is an emotional decision for most. Buyers want to know that you’re human. We don’t need to act like commissioned-based sales people at all.
Thanks, Lori... Yes, I know you are right... After all, that's how I started following you.
That’s so sweet Marian. I’ve been out of the loop for a few years, but I’m back and love encouraging other artists.
Remember, when talking to people about your art, being interested in them (What Jack White used to advise) with a smile helps you and them to feel more at ease. It’s also OK to get compliments on your work from others. The only answer is: “Thank you very much”. If you don’t thank them, you insult their opinion. Develop a persona who is comfortable with your art ability and the fact that people enjoy your work. If you must, pretend inwardly that you’re selling a friend’s work. People want you to be confident and yet not pushy. Smile a lot.. and if it’s online, smile in your words.
Welcome to the arts...
Thank you
How do I find collectors?
Someone else may weigh in on this, but the answer to this question is essentially what we are covering for paid Sovereign Artist club members. Currently we have a video and detailed set of posts explaining how to do it on Instagram and move them to email and ultimately sell via a studio sale. This process has been extremely effective for several artists who've actually done it.
Hi Clint, Thanks for those videos. I’ve been short on time but hope to watch them very soon and take notes. I’ve been away from painting for awhile and am back at it with a new plan. I want to take advantage of FASO’s print-on-demand service. I’m excited.
If the frame (and mat) costs more than what I am charging for my art, am I pricing my art too low?
Not in my opinion. But give people options to purchase framed or unframed
Absolutely. I see Clint says below to offer unframed. Is this a watercolor that you’re selling? I , and many other artists (even those who show in galleries) are no longer using mat and glass for watercolor. They are mounting the watercolor on panel and varnishing, therefore framing like an oil. I’ve been doing this for nearly 20 years. Varnishing saves me a lot of money and the watercolors look beautiful - with no fading. Or… as Clint offered, sell unframed and let the buyer decide. Unframed works are so easy to ship too.
I do work in all mediums, so for my acrylics and oils, I just frame them, but for my graphite, colored pencil, watercolor, gouache, and pen & ink, I mat, glass, and frame... except I have been waxing a lot of my watercolor and no mat/glass required. I do offer most of my work framed or unframed, but if entering a show, it has to be framed. I've been trying to standardize my sizes more so if a piece doesn't sell at a show, I can remove it from the frame (mat/glass) and pop in another for a different show. But sometimes an existing frame doesn't well with a particular piece.
Gary, your mention of waxing peeked my interest. I work with egg tempera and have recently been using a wax medium (Dorland’s) to finish my paintings with. I have been curious about trying it on watercolours as well. Do you need to spray anything on the wc first before waxing them?
David, I haven't sprayed my watercolors with anything so far, I usually apply 3 thin coats of Dorland's wax, letting dry, then buffing each layer. Some people have said they use a UV spray first before waxing but I don't.
Gary, I assume that you rub the wax medium on. I have heard of a process of dissolving it in mineral spirits, and then brushing it on?
Yes, I rub it on, straight from the jar. I use my fingers. I tried with neoprene gloves but it's hard to feel the coverage. So far haven't had any allergic reactions to the wax, but I only use it once a month or two. If I was waxing every day I might go back to the gloves.
I have finished several watercolours by glueing onto a prepped surface like birchwood cradled panel sealed with GAC100. I use matte medium as a glue as it is archival. Once dry, you coat the surface of the watercolour (no other fixative needed) with cold wax medium and gently buff off the excess. Done! A matte finish, repels water and preserves the painting.
Thanks Barbara. Since I last posted, I pulled out a small (not so good) watercolour and rubbed on a layer of Dorland’s wax medium. I will buff it tomorrow, and probably repeat that process in the coming days. Thanks for your input.
David, I just realized your the egg tempera painter from Canada. I believe you and I are the only egg tempera painters here. I varnish with Krylon mate finish. It leaves the surface looking much the same as the semi gloss surface in unvarnished tempera. I’ve never used wax medium. Have you sprayed with Krylon.
No Ed, I haven’t used anything yet except the wax medium. So far I like it a lot. I’m afraid that the mat varnish might change the appearance, even although very slightly.
Lori, I know other artists, and have seen other watercolours presented this way. There are advantages to traditional framing with glass when it comes to protection from dirt and scratches, etc. However, my main concern with varnished watercolours is the texture that the sprayed varnish makes. It seems to me that this rough texture would be an ideal dust collector. Maybe that is an occurrence with only the varnished watercolours that I have seen first hand.
I work on 300lb cold pressed so it has a texture anyway. I use a 2-step process. First fix the watercolor with Krylon Crystal Clear and then brush 2 coats of acrylic gloss varnish over that. The varnish doesn’t leave much texture because the paper is still absorbent enough that the only texture I see when done is the texture of the paper. I never use matte varnish because that has white particulates added and makes the painting look foggy. As far as dust goes, our oil collection sure has lots of dust in the crevasses… BUT, I can wipe my varnished watercolors off with a damp cloth because it is waterproof.
If you prefer traditional framing for watercolor - no harm there! I started varnishing my watercolors around the year 2000 because at outdoor shows, I realized that the viewers couldn’t tell the difference between my Giclee prints and originals because they were both framed with mat and glass. They always bought the print because it costs less. I’ve had better sales with my varnished paintings and some have not faded in 20 years.
Brienne Brown and Robert McFarland both varnish their watercolors and sell them in galleries. When the watercolor is varnished, the paint looks like it did when it was wet. Brienne Brown has a great How-to video on varnishing. If you try it out, use a painting that isn’t precious. But, as I said, it’s a preference. Just wanted to say that as far as dust goes, it’s less of a problem than with oils.
I believe the varnished pieces that I have seen were varnished by spraying first with a gloss medium, and then followed by several sprayings of a mat varnish. You mentioned brushing on the final varnish, instead of spraying, which seems like a much better option. Thanks for your detailed post. I must give it a try.
Yeah, I’ve seen a similar process. I’m still afraid of the matte varnish since I ruined a portrait with it. I’m sure it works fine. The work MUST BE SPRAYED to fix the watercolor. If you brush on varnish without spraying your watercolor will run everywhere. I’ve made that mistake too. For me, two coats of spray to fix and two coats of gloss brush-on (UV Protective) acrylic varnish is enough. The glossy brush-on doesn’t stay glossy because it soaks into the paper a bit as well.
well, I’ve gotta get to the studio now. Thanks for the chat. I think I may have gotten off topic a little, but so be it (smile) Hope you have a good day David.
When you have time, please give me the brand name of the spray. Thanks. Have a good painting day. Best wishes from Fredericton. D.
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