A Site for Emerging Artists
Case Study
Selling to Niche Markets/Wedding Industry
Apr 10th
Case study featuring a calligrapher who uses multiple strategies to market and grow her business.
Michigan-based calligrapher Jennifer Buck of Graceful Expressions offers a variety of services, but 60% of her business involves wedding-related projects. Her website lists at least 20 different products for a wedding that she can personalize with calligraphy. She developed this list of services through client requests, researching the industry, and real-life experience planning her own wedding.
Since she is marketing to a niche audience, Jennifer uses many different strategies to get out the word about her business, which she markets locally. The results of her efforts are ongoing new projects and repeat business.
Let’s look at how she promotes her business:
- Up-to-date website, easy to navigate with full information and photos
- Testimonials – a full page of raving reviews on her website
- Numerous awards for her work promoted on her site as well build credibility
- Backlinks from local and national wedding websites drive web traffic
- Participates in regional bridal show events 2-3 times a year and follows up with brides-to-be
- Pulls engagement notices from local paper and sends a congratulatory card to the bride with note about her services
- Partners with wedding planners, florists and stationery shops, who offer her services to customers, at a markup
- Has obtained press coverage in local and national magazines
- Referrals – one of her best sources of business, Jennifer says she can “trace one client to eight other clients”
- Repeat business – a major source of new work, Jennifer recalls doing five different projects for one family, including three weddings
- Cross-selling related services -She offers baby shower invitations and announcements to clients who have used her wedding services
Jennifer also offers extras that build value into her services:
- Referral program (discounts on other projects)
- Offers “envie party” events for brides and bridesmaids to work together on invitations and “save-the-dates”
- Can accommodate rush orders
- Very complete information on her website about ink, paper, and proper address, that educate and build confidence in prospective customers
What niche markets does your business sell to? How can you research the industry, and find creative ways to promote your own work?
Photo credit Jennifer Ackerman-Haywood
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?
Consultation Case Study: Freelance Illustrator
May 30th
By Carolyn Edlund
Recently, a freelance illustrator requested a consultation on the the issue of how to present oneself to potential clients. Does this case study offer useful information for your business also?
Background:
This is a freelance illustrator who has been successful working with a number of different types of clients. Her work is used to illustrate advertisements, articles, products and reports. An illustration agency provides her with 80% of her projects. Clients include art directors from ad agencies, marketing teams, publications, cosmetic companies, fashion houses, financial companies and some small businesses.
Challenge:
This talented artist has a diverse portfolio which includes work in ink, pencil, watercolor and graphics. She has been successful with all these mediums, but has been concerned for years that she might be perceived as unfocused because she has more than one style. She has considered working under different names, or even having separate websites for her different styles. Currently she is creating a website and wants guidance on how she can best present herself and her portfolio.
Goal:
Create an effective website with a presentation which will maximize sales of her services, with an emphasis on repeat business.
Strategies:
I suggested that she flip her perception of being “unfocused” due to her different styles, and use this versatility as a selling point rather than a liability. Her unique selling proposition is that she has multiple talents to offer, thereby becoming an even more valuable resource.
I recommended making her website Home page an “About” page, using her (professionally taken) photograph to create a sense of familiarity, as well as thumbnail links to the two categories that we divided her portfolio into. Text should be language which presents her professional background, but is primarily directed toward speaking her customer’s language, using key words about what is important to them – and offering solutions for them.
How would this text look? It could, for example, mention meeting deadlines, quick turnaround, flexibility, visuals that get results. These should be presented in short paragraphs or bullet points to create bite-sized pieces of information that are easily read. I suggested she use a “soft pitch” rather than “hard sell” to connect with prospective customers in an effort to pique interest and start developing trust, which is the basis for all relationships.
This strategy has the long-term aim of the freelance illustrator being viewed as a consultative partner to clients, thereby setting up relationships which will lead to repeat business. By presenting herself as an effective and reliable problem-solver, she conveys a greater sense of value than an illustrator working on only one project. I advised her to fully discuss her business strategy with her agent, so that together they can promote her business in a unified way.
Feedback from the Artist: I really love the idea you present of the illustrator as consultant, and not just a creative person who draws pictures for other people. It puts the illustrator in the same sphere as a graphic design consultant rather than an artist doing their own thing. I also believe planting the seed in illustrators that what they do is a business rather than a hobby-type occupation will give them the confidence to be more businesslike with both small and larger clients. I think it's a great idea to make this a collaborative effort with the illustrators agent (if they have one) or if they are seeking an agent. The 'about' page also works as a calling card to potential illustration agents seeking new talent. Of course the illustrator can go solo and not have an agent, but I find having an agent is a nice introductory way in dealing with clients if you haven't had that experience.


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Featured Artist Julia Hacker








