There is certainly a time for training and practice for athletes and artists, but there should also be a time where the artist, after having practiced and experimented, can just “Go With The FLOW”. [...]

When I order in bulk, I can easily figure out the cost of my materials, frame and shipping for each painting. [...]

If I sell only on my own, does the art buyer get an automatic 50% discount since I'm not paying the gallery a commission? Not at all! [...]

I no longer use the "per square inch" comparative pricing formula. Arbitrarily basing my prices on what someone else charges, doesn't take into account my framing, medium, substrate and payment for my expertise. The frames and substrates I choose are up to me, and also the venue and buyer of my work. [...]

So, if you haven't considered selling your work directly, or at the very least, learning about direct selling, it might be worth your time. Learning how to sell work on your own might be a good investment, even if you don't intend to use that knowledge anytime soon. [...]

So, next time you're busy in the studio on a painting and you think, "If this comes out well, I can post it on Facebook", think about how that fact alone is contributing to your effort and artistic growth... because, after all... you can exhibit your work online as soon as the painting is completed. [...]

The most productive people fail their way to success. The key is to start, no matter the outcome. [...]

There is no one method or recipe for selling your artwork. Choose and experiment with a venue that fits with your personality, time constraints, and style of work. [...]

It's not clear what is causing galleries to close while other galleries thrive, but it is very clear that artists are now seeking to sell through additional venues to supplement their gallery sales. [...]

There are many, many framing options available to artists today. Your framing selection will be determined by several factors: your style, your venues, your buyers, and your budget. [...]

Yes, the system is changing for art sales, and along with the introduction of online sales and Internet art browsing, sales models are in constant flux. I'm making it my mission to research how artists and gallerists are successfully selling work right now and in the past year. [...]

It's much easier to calculate and anticipate what we artists spend in any year, but harder to determine projected income. Why is that? [...]

Galleries and artists who have e-commerce sights sell more art than those who don't. The time has come - where people are comfortable buying online, even artwork. [...]

If I want to sell my work online, I need to engage viewers long enough to create lasting interest. [...]

When you say an artist's name, does a type of image pop into your mind? [...]

Artists have a lot in common, but we're individuals. Our uniqueness, with added passion, along with day-to-day hard work is what eventually turns into our visual message to viewers and hopefully buyers and collectors. [...]

I repeatedly hear art marketers state artists ought to spend 50% of their time on marketing. I ask, "50% of what time?" Time at the easel, our entire waking time, our life? [...]

My first step to living a calmer life is to pare my wants/goals down to a few that are important and ongoing. Which means separating the "shoulds" from my wants, especially for my art career. Some of my shoulds are generated from ego alone, a desire to look good to the masses - especially online. That's a dangerous place to go because I'll never please all the people all the time. [...]

The important thing is that your list, whether in your head, iPad or notepad - represents who you are and what you truly want. These wants are not necessarily "shoulds", but things you've dreamed of doing for a long time. [...]

Pure WANTS are something quite different from GOALS. They are the desires of your heart - they never really "go away" but you think about them all the time, whether you admit it to yourself or not. They are lasting and internal, in essence, a part of who you are. [...]

The important thing here is that I work harder in the studio now that I have the opportunity to exhibit my work online by sharing with friends on Facebook. My work is improving because of that fact. Sure, I'm not as good as many of the artists I follow on Facebook, but I'm growing - and I see my friends' expertise and growth, as well. It's all very edifying! [...]

Although your vision might be very different from mine, I hope that you are not afraid to push yourself beyond your current comfort zone. There's always room for improvement no matter how good you get, and there's always room at the top for "amazing". Don't stress that it's going to take time and effort to play a bigger game. If it were easy, art wouldn't be worth much. [...]

The things we fear are often generated from imagination, not from reality, and since we have no way to verify how realistic those fears are, ask yourself what's the percentage chance they are likely to come true. [...]

The main thing to remember, for trees, and every other subject that you depict, is that shadow areas are relatively flat and colorless, while areas in light have volume and a higher saturation of color. Without light, we just can't see much - no shape, no color. There is less light in the shadow, so we see fewer detail and color in those shadows. [...]

The best advantage of painting plein air is that all the senses are engaged. You are essentially making a first-class memory. Sight, smell, sound, and touch are simultaneously involved. Even if you can't touch the landscape, you can feel the breeze (and hopefully not fierce wind or bug bites). You're fully experiencing 3 dimensional life, which also engages human emotion. Your painting becomes a personal response to the subject at hand. Whereas, painting from a photograph is a calculated response with diminished emotion. Sure, I paint plenty of landscapes from photos in the studio, but I can never fully replace the original experience of studying a place I adore in real life. [...]

So for now, I'm in experimental mode. I'll search for anything that floats in this sea of art sales, and I'll stay on a lifeboat, raft, or log, as long as it carries me. If it starts to sink, I'll start swimming towards something else. This is not a business for the meek or the arrogant, but for the wise and adventurous. [...]

The funny thing is - when I unsubscribe, I feel guilty about it, like I'm no longer supporting people I care about - but wouldn't those bloggers rather me not just hit the delete button every day when I see their email? That gives them a false assumption that I'm getting something from them. I can't help but get distracted by what's on my computer screen because I have no internal filter. I'm visual, and if I see it - it enters my mind and takes up space and energy. Ultimately, I must limit distractions that take me away from my important work... which is making my artwork. [...]

Up until now, I've explained the problem, but now I want to look at how to resolve issues that get in the way of productivity. The first step in that process is to teach my brain to stop adding ideas and let my physical self get the work at hand, DONE. That means less time online because I'm so influenced by everyone else's thoughts and ideas. [...]

To sum it up. When selling my reproductions, I list it as a giclee print. I don't get into the discussion of the difference between a print and mechanical reproduction because my print buyers don't care about that. People who do care about whether a work of art "might" be an investment buy my original works and even those may never increase in value. [...]

The artist who would benefit from having reproductions on hand to sell, has built a following of collectors, either on her or his own or through gallery sales. [...]

Another plus for passive income sources: I engage a secondary and larger audience for my work because reproductions and downloadable ebooks are inexpensive when compared to one-of-a-kind originals. It won't break anyone's bank account to order these items. It's even possible that having a line of reproductions could lead to higher value for my originals since I won't have to sell them at ridiculously low prices just to keep the money flowing. [...]

We at FineArtViews (FAV) strive to offer solid insight into the world of art and art marketing -- by introducing readers to viewpoints concerning the state of the art world, and exploring a wide range of art marketing strategies. That dedication was stronger than ever in 2012. [...]

You might be thinking... crazy is a strong word. However, when I spend too much time online, I get stupid - I can't remember diddly; I've been forgetful and have missed deadlines. (I never used to miss deadlines)! My brain can only take in so much stimuli before it starts shutting down. I get zoned in on my computer or Ipad screen and my life and responsibilities begin to slide by, while I live in a dream world by viewing what everyone else is doing. In the end, I've got to stop looking at what y'all are doing all day so I can return to my life. [...]

Stay vigilant! Try to find out why other artists (in your price range and style) are selling well. Learn what they are doing or what their gallerists are doing to sell their work. I'm seeing pockets of success in sales today! Don't be fooled by thinking that artists who are getting awards and visibility are selling well... in some cases they aren't. In other cases, they are. I do think it comes down to savvy marketing on the artists' and gallerists' parts. More than ever, artists and sales people need to know how to get attention from collectors and close the sale. [...]

Our esteemed judge, Lori Woodward has completed the judging of the July 2012 BoldBrush painting competition. [...]

The Law of Supply and Demand is a time-tested precept for marketing and sales for just about everything that consumers buy and acquire, and yet, this "law" is ignored by the majority of artists and galleries. I believe that it's an important concept to apply to your art sales and marketing efforts, whether you sell someone else's artwork or your own. [...]

It's not an option any longer... artists cannot expect someone else or even their galleries to promote their work adequately. No one has the time, money, or desire to promote your work better than you do. [...]

So essentially... sales beget sales. It all boils down to finding ways to increase the demand for your work. There are dozens, if not hundreds of ways to go about this - and savvy artists will take their individual marketing and painting personalities into consideration when making business plans for the coming year. [...]

The Internet has changed the way everything is bought and sold, and we're in the middle of a revolution. No one really knows how it will all turn out, but we artists who are adventure prone and not adverse to risk will pull through. [...]

One of the easiest ways that artists can make their paintings look professional -- is when they have the knowledge and ability to manipulate and show variety with the edges of their subjects. [...]