A Site for Emerging Artists
Posts tagged Business of art
Target Your Market to Increase Your Sales
May 22nd
By Carolyn Edlund
Can you identify your target market? What you need to know and how it can help your business.
I once asked an artist, “Who is your customer?” and he responded, “Anyone who wants to buy my work.”
I guess I should have expected that answer, but what I really meant was, Who really is your customer? Do you know? Do you have a true grasp on a detailed description of your target customer, so that you can tailor your marketing efforts to that audience? This saves time, effort and money in the long run, when you don’t waste your time trying to appeal to people who won’t be very responsive.
You choose your market, and also choose your customers, even if you are doing this unconsciously. Many artists and craftspeople have had the experience of doing a show or fair, only to realize quickly that they are in the wrong place. Sometimes we take “whatever comes along” because it’s easier than doing the hard work of getting ourselves in front of the ideal customer for our work. And other times, we feel intimidated or not sure where to even begin.
Start by listing information you need to know about your customers so that you can understand them better.
- Are they male? Female?
- What age range?
- Do they have certain interests, certain occupations or goals?
- What are their needs, their dreams, and what are they passionate about?
- What else are they buying?
- Where do they live, and where do they shop?
- Why would they buy your work?
It’s important to narrow your definition of the end consumer, but also understand who is making the purchase – they may be a different person. For example, you might make a product for women, which men are buying. Your childrens clothing line has to appeal to the parents, of course – especially mothers. That will affect your planning and your marketing.
The more you understand the profile of your customers, the better able you will be to reach out to them and sell them your work. Targeted marketing is the method that most businesses today are using. Go where your customers are, and fill a need that they have. It’s a proven way to increase your sales and streamline your efforts, making them more efficient and saving money on your investment. Use your customer profile information to choose the best venue to display and promote your work and get in front of that buyer.
When you have identified your niche market, start thinking creatively about how to craft your message to them. How to partner with causes they believe in. How to become a part of the community they belong to, the circles they travel in. Go beyond thinking in terms of advertising what you do, by finding out about them and what they do. Develop a relationship with your potential clientele by focusing on what matters to them. People buy from others whom they trust and believe in. How can you earn trust and loyalty from your customers?
Do you know your customer? Take a few minutes and jot down your impressions. And the next time you are in the marketplace, face to face with your buyers, note who they are and ask them about themselves. You will find trends that you can use in determining how to best market your work to find that perfect customer in the future.
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Interview with Surtex Manager Penny Sikalis
May 18th
By Carolyn Edlund
Surtex, the “marketplace for original Art and Design” is a major art licensing trade show which takes place in New York City every May. Show manager Penny Sikalis graciously agreed to an exclusive interview, which ranges in topic from trends to marketing to what a new exhibitor can expect. Could this be a good trade show for your career?
AS: We know that today the economy is really tough and going to a trade show is very expensive. Artists also have a much bigger presence online where they can attract business. Why should they come to a trade show?
PS: Many reasons – one, it’s the only venue where they can actually physically present themselves to a multitude of professionals in the industry, all prospective clients of theirs – manufacturers from all over the country in all different product categories. It’s a face-to-face venue which is quite different from all of the online venues that are in existence today. So there is a huge benefit for them to be physically present, to meet face to face, and show their artwork to thousands of manufacturers in three short days.
AS: Who do you think would be an ideal candidate to come to your shows as an exhibitor?
PS: There are many ideal candidates, per se. The show is filled with artists, designers, licensing agents, and design studios. The latter two represent a number of different artists, designers, brands, properties – they are all ideal for being here. They can all expand their businesses here as they are able to meet with potential clients, nurture relationships with existing clients and also get a real sense of what is going on in the industry to stay on top of trends and industry issues. There is so much that people can do at Surtex. Manufacturers, retailers, and product developers come to Surtex to find a real diversity of art – cutting edge art. They want to find the latest and the best surface designs that are going to make their products very special and sell off the shelves.
AS: It sounds as if someone coming here as an exhibitor is connecting with a lot of different people.
PS: They are connecting with every aspect of the industry, exactly. Retailers are doing more of their own product development, so we have found over the last several years that there is an increase in retail attendance at Surtex. Those retailers are looking to buy or to license artwork as well.
AS: In your opinion, for new artists coming to Surtex, what would be a reasonable expectation for results?
PS: It really depends on the individual, and how far along they are in their business, what their business plan is, and what their goals are for their business. For somebody new to the licensing industry, someone new in business in general, their expectations need to be realistic their first time here. It will be very much a learning experience, as they are meeting a variety of people and understanding how the industry works. We would encourage them to take classes throughout the three days. We offer a fabulous conference program. For anybody who is new in the business, I would encourage them to do a lot of homework beforehand, so that they know what to expect, but then also once they get here, they will continue learning. They will make a lot of contacts. They will likely not close any deals, but if they do, that is terrific. It will be more of an exploratory “learn and see, get your foot in the door, get lots of leads and follow up.”
AS: So it takes some time to get traction at these shows. I’m sure part of that is that they need to be credible, that they have to have been “seen”. Would it be reasonable to say that you need to come to the show two or three time?
PS: Absolutely. We generally say it takes about three showings to become credible, to really know what you are doing with your business and how to establish yourself within the industry. The second year the expectations will be different and the results will be different. The third year, the results will be much better as well.
AS: You talked about people doing their homework. What would you suggest that an exhibitor do as pre-show activity so that they can get the most from Surtex?
PS: There is a lot that they can do, and a lot that we offer them so that they can be best prepared for the show. I think they need to read trade publications, whether they are printed or digital. It’s very important to get an understanding of what’s going on in the industry and also look at the various videos and other media that give a bit of a sense of what Surtex is like, so that they are not walking in without having a good idea of it. We also offer webinars for all of our exhibitors before the show. The webinars start from the very basic “OK, you’re in the show now, here’s a primer on licensing, let’s make sure you understand all of the steps.”
We also offer webinars on marketing and how to promote yourself through your own types of marketing vehicles as well as those that we offer at the show. And we have several logistic, more operational webinars as well so that people know what to expect, how to set up their booth, how to send their materials here, when they should be here, etc. Also one thing we do is we calm people down. Everybody is very nervous and excited about their first showing. We give them as much information as possible so that they can be prepared.
AS: Are you seeing any changes in the makeup of the buyers who are coming to the show? You mentioned retailers. And what about attendance, how has that been affected recently?
PS: For this show in 2011 we are anticipating a very strong show. The economy is turning around, and there is more excitement and more interest and more positive feedback that we are hearing from our customers, exhibitors as well as from attendees. Manufacturers are looking for new art. They need new art to put out there to get the consumer excited and meet consumer demand. Yes, the last few years have been tough for everybody. Product did not sell through as well at retail, which did impact those folks who are licensing their products. Those royalty checks weren’t coming in as quickly as they had been. This past year, things have definitely turned around, and from all indications are moving forward. There is a lot of activity right now taking place in this art and design community. That bodes well for manufacturers as well as all of Surtex exhibitors.
AS: Could you tell us about any design trends that are coming in right now?
PS: What you are seeing on the floor at Surtex is a very big picture of what is trending. These people are ahead of the product curve. They are helping develop products, so what’s here on the floor is what you will see at retail in another year. What I’m seeing is fresher colors, unique combinations of colors, more graphic designs. Slightly less on the floral side. Some bold geometrics. There really is a variety of styles. I think that is what makes the mix of exhibitors here so unique – that there is something here for everybody, and for every product category.
AS: If you were a buyer walking the show today, what would you like from exhibitors? What would make it easy for the buyer to say “yes”?
PS: Exhibitors need to be cognizant of how their designs will be interpreted on a finished product, and when walking the floor, you will see that some exhibitors actually take that to heart. They will present their designs on mocked-up product, or they will show illustrations of their design on product. So they are not only showing a flat piece of art or surface design, but they take that surface design and engineer it for specific end uses. I think that becomes very helpful for buyers so that they can visualize how that design will appear on their product. Some exhibitors bring in their “past successes” and actually show the finished product. They show what they have been able to do and how their product lines have been successful for manufacturers and retailers.
AS: Do you have big plans for the future? Where do you think your show is going?
PS: It’s something we are always thinking about – how we can enhance the show and meet the needs of the market. We pay very close attention to what is going on in the industry. We have an advisory board that’s comprised of both exhibitors and attendees. We hear their thoughts and really know where the market is going. We are developing plans for next year, and expect the show to continue growing. Another indication as to where the economy is – last year we had 225 exhibiting companies. This year our show floor has 277 exhibiting companies. That’s an increase of 23%, so it’s quite nice to see that business is starting to thrive again. I think it will continue. I think we will bring more and more talented artists and designers and there will be more and more surface design on all kinds of products going forward.
FOR MORE INFORMATION ON SURTEX, CHECK THEIR WEBSITE AT WWW.SURTEX.COM
Today I will speaking at the CREATIVE SOULS TELESUMMIT on the topic of "Putting Your Dream Into Action: How Creative Entrepreneurs Can Market and Sell Their Work." from 12 noon to 1:00 p.m. Pacific time, 3:00 - 5:00 p.m. Eastern. Please join me - it's free! Click here for more information.
A Guide to Pricing Your Artwork
May 6th
Artist/Teacher/Curator/Blogger Karen Atkinson truly understands the art world from different perspectives. She shares her expertise in this guest blog, reprinted from her website at GYST, a company run for artists by artists in California.
Karen Atkinson
Pricing work can be one of the strangest, most nebulous areas of an art practice to navigate. After all, the monetary value of art, unlike car repair, or say, furniture manufacturing, can’t really be quantified by any set standard. There is no perfect formula for pricing your work, but here are a few helpful hints.
• Plan ahead. Don’t price things at the last minute. This can lead to outrageously high or low prices depending on your mood, current economic situation, or desire for attention.
• Err on the high side. Low pricing often signifies that the artist doesn’t have confidence in their work. On the other hand, if you are an emerging artist, asking for $25,000 for a painting might be over the top. Prices can go up, but they should never go down. Getting your work to start selling might be more important than pricing things too high. Use common sense.
• You should compensate yourself fairly for your time and materials. Most artists undervalue their work; often make less money on sales than they spent making work. It is a good idea to keep track of your expenses and the time spent creating the work. Use the GYST software for this.
• Defend your prices. If you have kept track of your time and expenses, you can defend the price of your work should your dealer or collector insist they are too high. Be realistic here, but also include your direct expenses for materials, as well as your overhead expenses such as studio rent, utilities, phone, etc.
• Use an hourly wage to calculate how much your art is worth. You are a professional artist and you deserve a professional living wage. Don’t go with minimum wage numbers here. The US Department of Labor Occupational Labor Statistics lists the mean hourly wage of Fine Artists as $23.22. Use this as a starting point for figuring out your hourly wage.
• Letting dealers and consultants price your work is not always the best way to go. Often a dealer will set the price of your work, but you should be a part of this discussion and it should be a joint decision. If you have your expenses calculated, you have a better chance of getting your share of the total price of the work. But remember that gallery dealers calculate things like rent, salaries for employees, and marketing costs into valuing your work.
• Some excuses you will hear from dealers about pricing the work low is that you are an emerging artist, your résumé does not have the right venues, the work is small or derivative, or the dealer needs to spend more time and spend more to promote the work of emerging artists. Defend your work, show them how much it costs to make your work, refer to your hourly rate. Be negotiable, but don’t undervalue your work.
• Artists with gallery experience and consistent sales histories should already have base prices set for their works. If you do not already have a track record of sales, your base price should approximate what artists in your locale (with comparable experience and sales records) charge for similar works of art. Keep in mind that even though your art is unique, experienced art professionals, like dealers, advanced collectors, consultants and agents, make price comparisons from artist to artist all the time. Being able to evaluate your art from a detached standpoint, by comparing it to that of other artists in your area, is necessary in order for your price structure to make sense in the marketplace.
• Keep work that holds special meaning for you or represents critical moments in your life or career off the market. Make sure this work is not drastically different from your other art in terms of physical criteria. You may want this work as part of your own private collection. Also, often times, the tendency is to overprice such work.
• When calculating your studio expenses, maintain records of the time you spend, and the cost of materials. Include overhead such as rent, utilities, professional fees, fabrication costs, assistants’ wages, transportation, postage, and shipping. Divide the total by the number of works you make a year, and average the cost per work. Then, add the sales commission. Make sure you build in a profit margin and room for a discount to notable collectors or collecting institutions.
• Visit galleries, rental spaces and exhibitions, and do some research on comparable artists and artwork. Look at the exhibition checklist for these details.
• If you are selling work in your studio or at a studio sale, you might want to price the work a few hundred dollars over the set price so you have space to negotiate.
• You should not price your work according to what region of the country or city it is shown, or what gallery sells it. Consistent pricing is a cornerstone of a sound practice and eventually leads to successful sales.
• Always have a price list available that states the full retail price. If you are selling the work yourself, always include the discount policy in writing on the price sheet. This will get you out of a bind if a buyer brings it up.
Commission Splits
• Usually galleries and art consultants take a 50% commission of all sales. Anything above that is highway robbery. If the commission is less than 50%, do not lower the price. Have a heart-to-heart talk with anyone who wants a higher commission. Often there will be a wide range of excuses for this, including that you are an emerging artist, your work costs more to sell, etc. Do not buy it! Many nonprofit galleries take from 0-30% commission and many leave the negotiation up to the artist.
• There are special circumstances in which you may need to receive more than the 50% commission. If your work is very expensive to produce, and the fabrication is very costly (such as foundry work) or you use a specialized process, you will need to negotiate this up front, before the commission split.
Prices Too High?
• If people like your art enough to ask how much it costs, but do not buy, it may be because your price structure is too high. First, conduct an informal survey by asking dealers, experienced collectors, consultants, fellow artists, and agents what they think. Never arbitrarily cut prices or adjust them on the spur of the moment. Reduce your prices according to the consensus of knowledgeable people. Use your concerned judgment. Avoid having to reduce prices again by making sure your reductions are in line with or even slightly greater than the consensus opinion. Never make your art so inexpensive that people will not take it, or you, seriously.
Price Increases
• A price increase is in order when demand for your art regularly outstrips demand for your contemporaries’ work. The best time to increase prices is when you are experiencing a consistent degree of success and have established a proven track record of sales that has lasted for at least six months and preferably longer. Depending on what you make, and the quantity of your output, you should also be selling at least half of everything that you produce within a six-month time period. As long as sales continue and demand remains high, price increases of 10-25% per year are in order. As with any other price-setting circumstances, be able to justify all increases with facts. Never raise prices based on whimsy, personal feelings or because you feel that they have remained the same for long enough.
• Your prices should remain stabilized until you have one or more of the following: increased sales, increases in the number of exhibitions you participate in, increase in the number galleries that represent you, or inflation.
Online Sales
• When pricing and selling your work online, you should keep the big picture in mind. Continually compare your prices to available art in your area, as well as on the Internet, and not just among your circle. Have a good selection of reasonably priced works available for purchase. Give the buyer the option of starting small, without having to risk too much money. Remember, people are just beginning to get used to the idea of shopping online for art. Hosting your work on the Internet opens the doors to a different market, which is not necessarily driven by region. Many collectors and patrons visit web site to see new artists who are outside of their area.
Discounts
• You should not be required to split discounts with the gallery. It is a public relations expense for the dealer and you should not be paying that expense. The gallery is usually awarding the buyer for previous patronage. Exceptions might be when the buyer purchased your work before or they are buying more than one work by you. Always get a Bill of Sale as a purchase contract between the artist and the collector. Often, a dealer will issue you a purchase order, which states both commissions and the collector who bought your work. Always maintain records of who has purchased you work, including name, mailing address, and email and phone number if possible. Beware of dealers who will not give you the information on a collector, as by law, you are entitled to a copy of the bill of sale and information on who bought the work.
Market fluctuation
• No matter how old you are or how long you have been making art, know that art prices fluctuate over time as a result of a variety of factors. Set your initial price structure according to the initial value of your work, your local or regional art market, but be ready to revise those prices at any time (assuming adequate justification). The more you are aware of market forces in general, and how people respond to your art in particular, the better prepared you are to maintain sensible selling prices and to maximize your sales.
Conversation with an Art Publisher
Apr 12th
What Artists Must Know about Selling into This Market
Donna LeVan
Donna LeVan is the Vice President of Publishing for the New York Graphic Society Publishing Group, the oldest and largest publisher of wall décor in North America. She brings 30 years of creative and product development experience to the role, having directed the creative process at several advertising agencies, the Chicago Sun-Times, The Creative Black Book, Portal Publications, NobleWorks, and most recently, NYGS. For the last nine years, she has been instrumental in the growth of NYGS and its expansion into new product formats and new markets. In addition to managing the art, design, and product development areas of the company, Donna sources, directs, and selects the art for both the NYGS and Artbeats publishing divisions, and consults with both artists and customers on trends in the home décor marketplace and how those trends translate into the imagery selected for publication.
AS: You are constantly balancing your line to give your customers what they want, while remaining profitable. What is the biggest consideration for an art publisher?
DL: No publisher can remain competitive and relevant unless they are able to consistently offer their customers the right product at the right price. It is a simple enough formula, yet one which presents complex challenges in that the criteria which define “right product” and “right price” are forever evolving.
Art publishing is a trend-driven business, thus we are continually analyzing and re-evaluating what themes and styles are selling, what wall décor formats are selling, and what available technologies we should be utilizing to create our products efficiently. In this economy, it is not enough to keep up; we need to be several steps ahead in order to succeed. The publishers who have done well during these challenging times are those who embrace change and are constantly in motion.
AS: How do you decide which artists to publish in your line?
DL: We publish art for several lines and in multiple formats including prints, posters, canvases, wall decals, and a variety of other printable substrates. Some of our lines are sold to framers (who add finishing and packaging, then re-sell the works to retailers), and some of our lines are sold directly to retailers. Popular themes and styles vary from line to line and format to format, but the core need for strong decorative designs with commercial appropriateness exists across the board.
We often receive submissions from artists whose work has high artistic merit, but that is more appropriate for the gallery world than for the middle-market retail environment. We are in the business of making a consumer product – wall décor – so the pieces we publish must have broad appeal and must make sense for the end consumer. We are looking for artistic quality, but salability is of equal importance and is our number one selection criteria.
AS: What are the most popular categories of images for NYGS?
DL: We publish a wide variety of themes including abstracts, florals, landscapes, coastal/tropical, kitchen and bath, photography, wildlife, novelty, fashion, botanical, vintage, juvenile, and many others. Some themes do fall in and out of vogue, although fresh and exciting interpretations of any home décor theme will definitely get our attention and the attention of our customers.
AS: What are some of the trends are you seeing these days in the market?
DL: We are currently seeing a big shift toward contemporary styles with updated compositions and unique design elements. Typography-based imagery is in great demand right now, as are abstracts that have a colorful and whimsical aesthetic (we sometimes refer to these as our “happy abstracts.”) There are several noteworthy trends in palette as well. Neutrals featuring layered and heavily textured monochromatic tones are dominating the domestic home décor market, particularly those with a vintage vibe. Simultaneously, foundations of gray paired with bright sorbet colors are strong in Europe and have definitely been growing in popularity in the U.S. market. Other trends we’re seeing include the mixing, matching and deliberate clashing of floral and geometric patterns, mid-range to navy blue hues, muted antique-inspired metallics, and the color coral (expected to grow in importance through 2012.)
Trends, by their very nature, constantly change. Successful artists keep on top of what’s current by doing their homework online, in stores, at trade shows, etc. I strongly advise artists to make frequent visits to retailers selling our works to see what has been purchased by them and how it looks in that environment (eg., which designs stand out in the crowd, which designs would you be drawn to as a consumer, which designs are actual shoppers inspecting and buying, can you imagine your work fitting into the collection you see there, etc.)
AS: Can you describe some of the characteristics of your most successful artists?
DL: We are fortunate to be working with many artists and agents who truly understand our business and who have become essential to our continued success. These artists are the ones who create fresh, exciting, and appropriate imagery that is on trend and in demand – and they do it on a regular basis. We present hundreds of new images each month to our core customers (who are always looking for “what’s new” and “what’s next”), so we rely greatly on those artists who are fast, prolific, and tireless. Flexibility is also a common quality of our best-selling artists, as our customers will often want alterations to existing works and those who respond quickly to needs for customization, files, clearances, and commissions are ultimately well rewarded for their professionalism and efforts.
AS: How much money can artists in your line expect to make?
DL: Most of our artists are paid on a royalty basis, meaning they are given a percentage of the money we make selling their images to our customers. The royalties earned vary greatly from artist to artist, and range from a few hundred dollars to tens of thousands of dollars in each calendar quarter. Those who earn royalties on the high end of that range typically have a very large quantity of images in our lines at one time, as it’s unlikely for just a few images to earn royalties of that magnitude.
I would advise new artists to be patient and to have realistic expectations about their earnings. It takes time to build momentum and volume, but the upside potential is definitely there. Further, artists new to this should remember that wall décor is but one category in the vast world of art licensing opportunities, and should be considered just one component of a complete licensing program that enables them to leverage the same imagery across a multitude of product categories.
AS: What is the most common mistake made by artists new to art licensing?
DL: The issue that comes up most often when we’re working with new artists is their ability, or lack thereof, to provide us with high-resolution, reproduction-quality files of their work. There’s a lot of confusion over digital file types and sizes, and very often we find that artists have sold their original works before having a proper digital file of the works prepared.
Wall décor is often reproduced at very large sizes – 24×36, 30×40, 35×35, etc. In order to print at that size, we need digital files that were prepared to that print size at 300dpi (a common error is thinking that any 300dpi file will work, when in fact a 300dpi file made to be 5×7 inches in size cannot be enlarged to 30×40 inches – there’s simply not enough data captured in the file.) There have been many times that we have had to cancel publication of someone’s art at the eleventh hour due to the unavailability of an adequate file. Obviously, that’s a situation we would prefer to avoid.
We have an in-house digital photography studio and can assist artists by shooting their originals ourselves, but often the originals are not available and it’s not always practical to ship them back and forth. I would recommend that any artist seriously interested in licensing their work to large-format categories seek the advice of a professional digital photographer to ensure that they have files of all of their work archived and that those files are appropriate to the needs of the publisher.
AS: How should artists go about submitting their work for consideration?
DL: There are formal submission guidelines on our website, but in short, submissions may be made via snail mail or email. If by snail mail, color printouts are recommended in addition to a disk and an SASE must be included if the materials are to be returned. If by email, lo-resolution jpgs (up to a dozen) can be sent to donna@nygs.com. Under no circumstances should artists send unsolicited original works.
All submissions are reviewed within a couple weeks of receipt and if we think the work is a good fit with our current needs, we’ll get in touch to discuss next steps. Unfortunately, our busy schedules don’t allow us to respond to every submission, even though we greatly appreciate the interest. Also, artists should not be discouraged if they don’t get a response from us. Every publisher has a market niche and very specific needs dictated by that niche. Just because a submission isn’t right for us, doesn’t mean it won’t be right for someone else and it certainly doesn’t mean that the work itself is not of value.
AS: Anything else you’d like artists to know about NYGS?
DL: Only that we consider artists to be our most valuable resource and our creative partners in this business. Without them, we couldn’t do what we do, and we are extremely grateful every day for the amazing talents who choose to be a part of our journey.
Email Marketing for Artists – Part 2
Apr 8th
By Carolyn Edlund
Do you have an email list and are you ready to go with your newsletters? Now grow that list and reach more potential customers!
Email Marketing for Artists – Part 1 presented a basic how-to for getting your email subscriptions and newsletters up and running. Here are some ways to grow that subscriber list and make your newsletters even more effective:
- Blog. Putting a blog page on your website gives you the opportunity to present more about your work, announcements, and link-building with other sites. Frequent postings also increase your page rank for searches. Use your most recent blog post as a headline in your newsletter, with a teaser paragraph – inviting readers to click through to your site. Add an email signup prompt at the end of every blog post for website visitors to get on your list.
- Backlinks. Partner with others to exchange links between your sites. Recommend them on your website, and give them a link as well. This drives traffic for both of you, creating more subscribers. Professional artists can get a free link from Artsy Shark by requesting one on the Links to Art We Love page.
- Embed a Video. This very powerful tool on your website gives you an opportunity to present your work, or perhaps a time-lapse film of how you create. A reminder at the end of the video to sign up as an email subscriber will increase your base. Use YouTube to create one free.
- Pop-Ups. A pop-up screen on your website can invite subscribers to enter their email addresses before leaving your site. You are more likely to get sign-ups if you ask only for their first name and email address rather than more extensive information about them.
- In Person. Got a show coming up? Use a guest sign-in book to capture their email addresses, getting permission for you to communicate with them by newsletter. These hot prospects have seen your work in person. Don’t let them forget you!
- Business Cards. Any networking or business event that you attend is an opportunity to build your newsletter subscription list. When you exchange cards, ask if you can keep in touch by newsletter. You can even have a newsletter sign-up prompt on your business card.
- Social networking. LinkedIn, Twitter and Facebook are essential ways to connect and drive traffic to your website, and invite subscribers. Make your communications with others valuable to them, not just pleas for sign-ups. If you want to receive, you must be a giver. Promote and assist others and you will receive help yourself with referrals.
- Mailings. A direct mail postcard should, among other things, invite recipients to your site, and specifically mention your email newsletter. They may want to hear more from you, and you can do it less expensively by saving the costs of stamps and printing, by sending communications electronically.
- Forwarding. In the body of your newsletter, suggest that recipients forward it along to other people they know who may be interested in your work. This drives new readers to your site, where they can sign up too!
- Referrals. When you contact your customer base through email newsletters, ask them for referrals to other potential customers who may be interested in your work. When you receive one, make sure you thank that person through an email or personal written note.
- Giveaways. Use your website to offer a free piece of your art or craft work to be given to a random winner, requiring readers to give their email address to be entered. Let them know that they are signing up for your newsletters.
- Presentations. Giving a talk, teaching a class, or making a presentation? Mention your newsletter, and collect names and email addresses of those who are interested.
- Press. In your press releases, or articles written about you for newspapers, magazines and blogs, mention that you have a regular newsletter. Of course, your newsletter will have really interesting content they will want to read!
- Signatures. Include a link to your subscriber sign-up page on your email signature.
- Profiles. Your profile on LinkedIn allows for three web addresses. Make one of them your email sign-up form. On Facebook, use your sign-up invitation in your profile as well.
Featured Artist Leah Jay
