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Consultation Case Study: Improving a Greeting Card Line to Increase Sales
Sep 7th
By Carolyn Edlund
Is This Greeting Card Line Ready for Retail?
In a recent consultation appointment, I worked with an artist who designed a line of greeting cards, and has a wholesale catalog in process. She was looking for help in evaluating her line as a whole, and wanted specific advice about making necessary changes, so that her products would be as saleable as possible.
We discussed sentiment categories, sizes, pricing, stock and envelope choices, cellophane, barcodes, terms, minimums, headers, display options, trade shows, related products, and marketing strategy.
Evaluating Categories
One of the most important factors in determining the success of a card line is balance. When a card artist schedules a consultation, we always start by evaluating the percentages of their line that fall into different categories, to be sure they are properly balanced for the marketplace.
We took a look at the percentage of her line greeted as Birthday, and decided to increase it by changing the greetings on some non-Birthday cards. If Birthday is not a full 50% of the line, it does not reflect market demand. Then we reviewed other categories, such as Friendship, Anniversary, Thank You, Sympathy, New Baby, etc. If these sentiment categories are not in the right percentages, sales suffer there as well.
Blank Cards
I found that this artist had too many blank cards in her line, and was unsure of which ones to keep. We discussed how to choose the cards in her line that would work best as blanks.
Many artists produce blank cards only, which is a pet peeve of mine. If you are willing to turn away 90% of American buyers (who are looking for cards greeted on the inside), then go ahead and produce your blank line. Store buyers have little interest in looking at “yet another line of blanks,” no matter how pretty or appealing.
Consumer demand determines what sells, and you need to supply what they want in order to be successful. I give a pass on the issue of blank cards to artists primarily creating paintings or drawings who just want to sell packaged boxes of blank notecards as a sideline. End of rant.
Fine Tuning the Line
Another crucial process in getting a line into stellar shape is to review each individual card. The image on the card grabs the customer’s attention, but the message will sell it. Is the message clear and complete? Does it work? Take a look at your own line, and evaluate each one. Ask yourself, “Who would buy this card and why? Who would they send it to?” If you don’t know, make some changes.
My client’s line needed some adjusting, particularly because she had some categories which aren’t popular enough to include in a small collection. Several of them were in the “Bon Voyage” category, which accounts for about .0001% of card sales in my estimation. We worked together to change the greetings and put them in more popular categories rather than let them languish as unsold inventory.
What to Toss
Other categories generally not worth including (unless you have a large line or specialty market) are New Home, Good Luck, Retirement, Bridal Shower, Baby Shower, I’m Sorry, and Pet Sympathy. Seasonal (holiday) cards of all types and cards for relatives should also not be included in small card lines. Some people may take exception to this, citing their Christmas card collection. Include that holiday if you must, but be aware that returns/exchanges and other issues may surface with your retailers.
Pricing
My client felt unsure about her pricepoint, and also whether she should be printing the retail price on her card. We adjusted the retail price for her, and I strongly suggested the price be printed on each card. I do not know of a single retailer who has the time or interest to stick prices on greeting cards.
Artists should become acquainted with average market prices for their type of product. Don’t try to reinvent the wheel on this with an unusual retail pricepoint. For example, $2.17 is not a card price. Prices typically end with .25, .49, .50, .75, .95 or .99, and the public is accustomed to this.
Goals
A card line consultation and review encompasses many topics. We address the line as a whole, and every aspect of the processed involved in selling it – making it ready for retail.
When evaluating your own card line, work towards accomplishing these two goals:
- Adjust the line to make it easier and more appealing for the customer to choose your cards over your competition
- Remove any barriers to the sales process, both at wholesale and retail
In this competitive industry, small details can make a huge difference. Does your card line measure up?
An Artist’s Agent: On Seeking Representation
Aug 6th
By Carolyn Edlund
Q & A on Breaking into the Art Market
A reader named Marcus recently posted a comment on this blog to an article titled “Interview with Artist’s Agent Samantha Levin”. Samantha followed up with a message that I felt was so on-point and instructive, I’m posting it here as an article in itself.
See if you find common ground with Marcus. I give him credit for reaching out, and applaud Samantha for her frank and detailed response – which is good advice for any emerging artist looking for representation today. The comments are published in their original form.
Question:
hi samatha, my name is marcus and I have been drawing for 5 yrs now and have approx 40 drawings completed. my work is linear graphic by design. i am now ready to market my work but need someone to look at it, if u can’,t could u please recommend some artists resources for new artists? thank u very much! all my work is copyrighted if that helps.
Samantha’s Answer:
Hi Marcus,
Thanks for asking this! I don’t have time (doesn’t matter that your art is copyrighted), but will try to point you in the right direction.
Don’t approach a gallery or agent yet!
One of the most important things you need to do before approaching anyone for representation is to look at the art world as a whole and determine where you think your work might fit in. If you need guidance on this, it’s best to approach receptive people for help. Galleries and agents aren’t usually receptive.
Who IS receptive? The best places to approach are artist networks online, blogs like this one (there is a ton of good advice tucked away in this blog!!!), meetup groups in your area, art classes (they expand your knowledge of the arts and also introduce you to your local peers) and whatever else you can find. If you can’t find anything in your area, organize it yourself. You should find people who you can bounce ideas off of, discuss the art business with (not complain about it, but explore it) and help guide each other. You should stick to people who like your art because those are the people who will be able to guide you in the right direction. If you’re totally socially inept (like I was a few years ago), then get the internet and social networking working for you. Some good reads: Edward Winkelman, a gallerist and art dealer, occasionally gives advice to artists on his blog. Here’s a good post: http://www.edwardwinkleman.com/2007/04/one-more-time-with-feeling-seriously.html Also, read Collecting Contemporary by Adam Lindemann. It’s written as a guide to collectors, but gives a great picture of the art world as a whole.
By being social online or off you’ll meet people who are connected to galleries, agents, brokers, etc who your art will work with. You’ll find matchmakers, so to speak.
Before you go near a gallery, you should ask yourself “Do I want to work with this gallery/agent/curator? What do they do, how do they do it and what is their reputation?” If you don’t like what they do, then move on. If you find a gallery you like and have visited them if you can, then you should take a look at their submission guidelines and follow them carefully (find out if they even accept submissions). Most galleries absolutely do not have the time to respond to requests from artists and no artist should expect them to do so. A gallery’s job is to sell and track the artwork of the artists they represent, and take care of their most trusted collectors. Neglecting those duties will kill their gallery. Many of them get approached by artists so often that responding to all of them with advice would starve their resources!!! You need to find advisers who are geared to help you.
You did good by starting on ArtsyShark!!
Visit Samantha Levin's blog Anagnorisis for more on her business representing artists in New York City.
Have You Been Knocked Off, Ripped Off and Pissed Off?
Jul 29th
By Carolyn Edlund
Imitation may be the sincerest form of flattery, but having your ideas stolen feels more like a punch in the stomach than a compliment.
What do you do when you have a fresh, original concept that gets picked up by others, manufactured overseas and sold at a price which undercuts yours?
These “ripoff artists,” an affront to real artists, often get away with it – simply because they can. You may have a copyright, but they may have lawyers and big bucks and be far away in another country. Standing up for your intellectual property can be hard if you don’t have the resources for staying power in a lawsuit.
If you locate a domestic copycat, you can sometimes send “cease and desist” letters to stop them cold. Less scrupulous types may need more persistent threats from your attorney (make sure you don’t cross the line yourself and get accused of harassment).
Or you can use Twitter to call out the corporate b*stards who started manufacturing your designs, which happened in spring 2011 when Urban Outfitters ripped off and started selling necklaces identical to Stevie Koerner’s “A World of Love” line. When outrage goes viral it can be satisfying, especially when it hurts unethical corporate serial copycats who have to scramble to manage their reputations.
Another way to fight interlopers is to expose and shame them on a website video, often with humorous results, as Paul Richmond has brilliantly done when he punk’d Cai Jiang Xun for blatantly selling direct copies of his paintings on Ebay. Join Paul’s Facebook page, which exposes bootleg sellers and puts the onus on Ebay to stop allowing knock-offs to be sold on their site.
One effective method to keep and expand your customer base when being copied by others, is to distinguish yourself and your products and add value to buying from you as the originator. Marianne Wakerlin, founder and owner of Solmate Socks in Vermont, has done just that. Her popular mismatched socks and accessories are promoted as being American made and really earth-friendly. Even though her concept has been copied and made in China for a lower price, she isn’t overly concerned.
In a statement of “corporate and environmental responsibility” which takes up the whole inside front cover of her catalog, Marianne describes her family-owned business, which uses recycled materials, provides employment for American workers, uses renewable energy and works to achieve zero waste. Now who wouldn’t feel better buying from Marianne and wearing her socks proudly? Take that, polluting Chinese sweatshops!
Has your work been knocked-off, and how have you worked to resolve this problem? Please share your experiences, and results.
Is There a Future for Trade Shows and Sales Reps?
Jun 7th
By Carolyn Edlund
Are these traditional forms of selling working any longer?
You might be under the impression that if you take your line to a wholesale trade show, you’ll be exhibiting at a venue which will produce lots of orders and expand your business quickly.
You might be under the impression that if you could only get some sales reps showing your line, it will be sold in stores all over the country, bringing increased income and keeping you constantly busy producing in your studio.
You also might be – wrong on both counts. Although I want to stress that I firmly believe that exhibiting at trade shows and having sales reps carry your line are still viable options, these two methods of selling have been going through a dramatic upheaval during the last ten to fifteen years, and that trend is accelerating.
With the advent of internet shopping and an abundance of websites, the face of commerce is continuing to change entire industries. Traditional methods such as traveling to trade shows to place orders for merchandise, or sitting down with a rep for an in-person appointment, have been in decline for quite a while. Still, those face-to-face meetings, and the personal relationships that develop from them, are the glue that creates customer loyalty and drives repeat orders.
Here are some of the problems that have come with current trends:
- Many independent retailers have closed. Chain stores have been overtaking the “mom and pop” stores for decades now – this is a national phenomenon. Combined with the poor economy, it has led to the closure of many stores who just couldn’t compete, or get loans for their ailing businesses. Empty storefronts are evidence that new independents are not taking their places.
- Prices for domestic goods are getting more expensive. At the same time, manufacturers are continuing to go offshore to produce merchandise – which floods the market with cheaper items that are putting U.S. small businesses on the ropes. This makes it essential for those in handmade industries to differentiate themselves and sell on value rather than price, and to choose their markets carefully.
- Many larger-sized gift and accessories companies have given up on an employee sales force, moving to outside rep groups so as to avoid offering salaries and benefits. A trend has emerged where these manufacturers then suddenly reverse course, dismissing all reps in an attempt to save on costs. After finding that an in-house customer service staff can’t make enough sales over the phone and online, outside rep groups are again hired. This type of whipsaw treatment leaves reps not knowing which end is up – and can cut their income dramatically, especially if they have lost core lines which can’t easily be replaced. Their smaller lines (that’s you) then suffer because they can’t provide the base income a rep needs.
- Sales reps are under increasing pressure, with costs such as gas and lodging skyrocketing, and fewer accounts to call on. For a rep to have a profitable day, they have to book enough solid appointments to make it worthwhile to get on the road. Sometimes that means they spend a lot of hours in the office prospecting and not so many outside. As a result, many long-time reps are leaving the business, and the next generation is not filling in the gaps.
- Trade shows are in a major transition, and will continue to evolve and consolidate. In the heyday of the 80′s and 90′s, creative industry shows had huge numbers of vendors, and competition was fierce. They have since shrunken in size, and many times the quality of merchandise being displayed has deteriorated. Quite often these events have moved to lesser-expensive cities and promoters themselves have moved to cheaper corporate headquarters and laid off staff to save on costs.
What’s a Creative Entrepreneur to Do?
Are there fewer opportunities to sell your work? Actually, no – there are more! With ecommerce, you now have a global audience, not just a local or national one. The answer lies in working smarter, evolving your business during this transitional period by identifying new trends and niche markets you can exploit, and creating strategies that enable you to grow rather than stagnate. Here are five ways:
- Diversify Your Income. By using multiple channels to sell your products, a varied stream of income is created. You can’t count on one method alone anymore. Selling both retail and wholesale, online and in-person, having a store and shopping cart on your site, and considering art licensing are all options that could work. Identify and experiment with different marketing strategies. Expand those that are working for you, and stay attuned to trends to stay on the cutting edge.
- Update your product mix. If you make bookmarks, and the world is buying Kindles, you have a problem. Research the market to find new product categories that are emerging, and how you can adapt to them. Also consider using techniques to boost the ticket on each sale to increase your profits.
- Create a professional website and use social media. Branding is essential to attracting attention and being identified. Make sure you have a dynamic presence online, using inbound marketing techniques and social networking to stay in front of your audience. This becomes an integral part of your whole package – without a professional, user-friendly website, you will be left behind.
- Be a partner to your reps. It’s not enough to send samples to a sales rep and expect them to perform. Provide everything they need to remove barriers to sales, making it easy for their buyers to say “yes”. If a rep is working smart, they are evolving into a consultative role with their customers and using new technology. This may mean reps are connecting with buyers via Skype, using your website to present new product releases, and maintaining an online presence such as a blog, Facebook, or YouTube to stay in touch and cement their business relationships. Do you have a pdf of your line sheet? Are you providing your sales force with plenty of sales aids, both physical and virtual, to make a great impression and reinforce your brand? Do you provide excellent customer service? Buyers are more likely to purchase when you have a serious business presence.
- Make smart choices on trade shows. Thoroughly research whether a trade show is right for you and your product line before you commit. Check exhibitor listings, and view their websites to scope out your competition. See whether the promoter has listed major attendees – are they your type of customer? Chat in forums with previous exhibitors for feedback on their experiences at the show. Walk the show before you do it to find out for yourself – this experience gives you tons of information, which could save or make you thousands of dollars. And when you do choose a show, make sure the promoter provides excellent communication. Look for lots of support in terms of pre-show informational webinars, and lectures and seminars on trade topics during show week as well.
You can survive – and thrive – in this changing world by increasing your level of awareness of how your potential customers are making choices and what they are buying. Both trade show promoters and sales reps themselves need to adapt, and you as a creative entrepreneur do also. When you transition your business along with the evolving market, you can stay “lean and mean” and take advantage of good practices to expand your business.
The author writes articles and provides consultation for creative entrepreneurs building their businesses, and has an ebook coming out later this year on Smart Wholesaling Strategies.
Artsy Shark Goes Threadless
Jun 3rd
By Carolyn Edlund
What’s the inside scoop on the fun, hip indie t-shirt company Threadless? They’re always recruiting artists to submit original designs that will look fabulous on t-shirts and other clothing to sell to their huge audience of shoppers. Yes, they want your original idea, but clearly state, “We’re talking an idea so amazing that your eyeballs may explode if you stare loo long!”
Artsy Shark went behind the scenes to find out exactly how this process works, and to discover if there is a secret to having your design chosen and land the $2,000 payout when it becomes one of the select handful of products for sale on their website. Via conference call with Threadless Community Director Mimi Henderlong and Artist Coordinator Rachel Gottesman (who gives thumbs up or down on initial submissions), it became clear that Threadless has taken a cool idea and turned it into a fanatical community of artists who support one another in the pursuit of saleable art.
Describing the submission process, Rachel explains that every day she receives about 200-250 designs from artists all over the world. Users download a submission kit from the Threadless site, and work with a program such as Adobe Illustrator or Photoshop to put their art on a template, shown either flat or on a model. There are guidelines however, and when they aren’t met, Rachel sends the submission back as “declined,” to be fixed and resubmitted. Rachel’s a stickler. No inappropriate or copyrighted designs, images too large or too fuzzy will get through. Lesson? Follow. The. Directions.
If you’re not confident or just want input, you can have your design critiqued by your peers first. When it is accepted (Yay!) it goes up on Threadless for seven days, put to a vote on a scale fro 0 to 5 from all visitors. This is where lobbying all your friends, contacts and even strangers can help get your unique design voted in as a crowd favorite. So post it on your Facebook page, and send emails and tweets to bump up your score – that’s encouraged. Warning: Voting on designs can be an addictive activity, resulting in your getting nothing else accomplished. So vote for your favorites, and then get back to work!
At the end of the week, your score gets averaged and the staff at Threadless (you can see them on the site – they’re the t-shirt models) get to pick their favorites from the best of the best. Then onto a final decision-making team who determines the winners. Voting scores and comments are very influential, but the mysterious process by which the finalists are chosen is the secret behind the success of the designs that make it to the marketplace, at about $20 retail per shirt (or as a hoodie, or childrens tee or onesie.) Each week about ten new designs are debuted for sale from previous submissions.
Winners are rewarded well for their hard work, receiving:
- $2,000 in cash
- $500 Threadless Gift Certificate (can be redeemed for $200 cash)
- $500 in cash each time your design is reprinted
How cool is that? Even if you don’t get your design chosen, you will most likely end up buying at least half a dozen t-shirt that you can’t live without, thereby living up to the Threadless slogan “Nude No More.”
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Featured Artist Julia Hacker








