Oh, and thanks to FASO, looking good is a whole lot easier!

I have a confession - I never carry a business card. I was feeling guilty about not having any until I read that a lot of successful people don't have business cards. It really has never hindered me in any way. In fact, if there's a potential connection with someone, I get *their* card or info so I can contact them. I did finally break down though and print some when I had a booth at the Oil Painters of America show a couple of years ago, I think I still have several hundred sitting in a box somewhere....

This is a good reminder - maybe MKAA will be this year's mantra! As far as web sites go, I like the KISS principle - simple, straightforward, easy to navigate. I know mine needs work this year - it will get done but am waiting for an upgrade to the program which will come out soon, and then will do some reorganization. This is giving me the time to think what I want for the update.

I do use cards - I get them from moo.com. I like them because they are small and have a segment of a painting on them (you can choose several different ones). I tuck them into notices, cards etc.

I do have a question - I have a difficult to spell and pronounce last name. Would it be better to switch to using my name on the updated site, or continue with 'Redberry Art', which is easier to remember?

Thanks Kate - I appreciate that point of view. I am leaning in that direction, but thought I would ask the wider world for an opinion. Thanks for yours!

Carol - nothing wrong with being consistent, in fact it *is* a good idea to be professional and consistent, but let's say you decided to change "your" color to blue - would it impact your sales? I don't think it would.

I love Seth's quote "A brand is the set of expectations, memories, stories and relationships that, taken together, account for a consumer's decision to choose one product or service over another." As artists we are defining our brand with every painting we share with the world. I think what really matters is what happens next. And that is building relationships with those who have either bought your art or want to buy your art. Granted it is tough to find potential buyers so why not start with the ones you already have?
I spent the last two days putting together my 2009 client list. I had all of the information, just not in one spreadsheet. I have developed a year long "spoil my clients" marketing plan and of course I can't start it until I have the list! I am taking Clint's advice here too, most of the plan involves personal notes and mailing, not just electronic marketing! Wish me luck!

How do artists market themselves if they don't like to be chummy with people?...or be relationship oriented?

I have often wondered about that now that I am learning more and more about this aspect of art marketing. Fortunately, I like talking to people and speaking and am an outgoing person. yakity yak.

But what happens to those who are not???

I certainly agree that the art needs to be outstanding, but I'm not so sure that the design and presentation of your sales letters, etc. are not also important. Sometimes the first impression a person has of you is the letter or whatever. I'm still trying the get to the point of making "kick-ass" art but I guess until that alone carries me I will try to keep the other things a step above a sales letter written on a salsa stained napkin.

Clint, I agree that relationships are more important than the usual designed materials one used to think of as "branding." That's why, in a perfect world, we would meet and build rapport with gallery owners, collectors, art editors, and all the other people with whom we'd like to do business, before asking them to do something for us (buy our paintings, hang our work in their gallery, write a feature article, etc.). In the real world, however, our first communication may be in a less personal way and first impressions count. For that reason, while cultivating relationships, I will also have a business card, a portfolio, a nicely presented artist statement and resume, etc. No, those things probably won't matter if I don't also have kick-ass art, but I'll also try to make a good first impression.

I've always been taught whatever an artist uses for letterheads, logos, brochures etc, to be consistent. For example, don't have many different fonts on each of your materials. To me, that seems to make more sense than spending lots of money on commercially designed materials. Nice if that's in your budget, but consistency is key.

A book I read this past year was Brain Tattoos, Creating Unique Brands that Stick in Your Customer's Minds by Karen Post. It's not written for artists, but it had some interesting information.

I could leave branding to the the ranch hands; an imprint burned on their livestock to differentiate their livestock from their neighbors'. I agree, buzz words get quite tiresome and I believe "branding" is about at the top of the list right now. Consistency in collateral/sales materials is nice and professional looking. However, I am far more interested in seeing the consistent class, creativity, and beauty in the art work of a Richard Schmid, or a Quang Ho or a Laura Robb. They have created expectations and their art speaks and converses with us. So I will accept that they have created their own unique brand, but it has nothing to do with logos and business cards. I might call it by older terms: exceptional individual painting style. Their art is easily differentiated from their "neighbors" by its particular style and excellence - without a so-called brand.

I always carry simple business cards which just have my name, short blurb about my art, and contact info. I've tinkered with the idea of getting those tacky car door magnet signs, but naw. Too tacky. I agree that kick ass art is probably the best branding and that cheesy gimmicks are just that. Cheesy. And cheese stinks.

Branding has never been about logos. These icons are merely the visual representation of a brand.

Branding is nothing more than MEANING. What does X company, X product, X person stand for (or against). Can I trust them. Do I relate to their image.

The reason giant companies spend so much on branding is because the more they do it the more they reinforce that image they hope you'll buy into.

In this new age everything is transparent. Lies can no longer be told and bad products are called out quickly. A bad movie dies within 48 hours of release because people post bad reviews on facebook, twitter, etc. In the old days it took 2-3 weeks for bad word of mouth to spread.

Artists can do well with a brand. Not in the traditional sense.... its not about logos and slogans. Its about trust.... can I trust that this artist is of good quality.... will OTHERS respect my decision to buy this artist (sorry its not all about what people love, sometimes its about what they think others will think of them).

If given a choice of two artists (and you love both paintings equally)....both the same price, which one will they choose? Usually the bigger brand. Why? Trust, value, perception.

Richard Schmid or Joe Unknown? If the price is the same and the quality was the same, I still believe most would choose Schmid. He had the big brand, the perception that his prices will skyrocket some day, etc. It may or may not be true (probably is) but its all about perception....

How was that brand built? GREAT PAINTINGS indeed, UNIQUE STYLE indeed, but there are thousands of wonderful unknown painters. Brand is built by showing up and being seen everywhere. Articles, Ads, Shows, Events, etc. The more you are seen the longer you are seen your brand will grow.

I know an artist who was not known. She began an advertising campaign of small ads with her name and painting. Year 1 very little activity. But at the end of year 1 she started getting invited as the main artist in key art shows, she was invited by galleries, she became a big shot, her paintings started commanding higher prices and her workshops were selling out.

This artist never stops. She is always present in ads because she knows that repeating her image in front of the market month after month year after year is the smartest thing she can do.

We've even seen it work with bad painters. Imagine doing it with great painters.

Eric Rhoads has given us a powerful summation on the topic of branding.
Here we have in three words all that we need focus upon-Trust, Value, Perception.
Thank you, Eric, for an excellent article.

Thank you Eric and Cooper!

Cooper, you are so right. I cringe when I hear some of my artist friends at a gallery event and all I hear are the same words over and over. I love conversations with viewers, but what I want is for the viewer to talk. I learn more that way then trying to tell the viewer what he or she is looking at.

I do love to tell stories about the particular piece, but I am always cognizant of what they thought first. I don't want to tell them something so different from what they thought!

And, quality will always tell!

Hi Clint,
You are right on about the Kick Ass painting! All the other stuff is nice but ya gotta produce the goods!

Part of the problem is the word "branding" can, at least historically, be contorted to whatever someone wants it to be.

Anyway, here's a successful cartoonist/artist (Hugh Macleod of http://gapingvoid.com fame) and thought on why "Branding is Dead:"

http://gapingvoid.com/2004/11/09/why-branding-is-dead/

"Even responding on a respected forum like this one is a great branding tool.."

That's because "Art Marketing is Conversations"
http://clintwatson.net/blog/7977/Art-Marketing-is-Conversations

Masha's comment about telling the buyer stories, but not telling them something too different than what they thought in the beginning is so true and reminds me of a conversation I had with a buyer long ago before I was aware of the importance of conversation and the value of truly listening to what was being said. A buyer was commenting why he liked my painting and said he could imagine ... etc. And unfortunately, I said no, it's ... etc. But the painting view could easily have been what he imagined and I just deflated him. What a lesson that conversation was!! Lucky for me the sale still went through. Artists need conversations in which we truly listen to the other person. And certainly not the "conversation" Cooper overheard from the exhibit next to him.

Not being a great conversationalist, I get extremley nervous in front of the public, and I often stutter and stumble my way through. I realize how important it is and struggle with what to say.( funny though I can talk more easily about another artists work) I often wish I could have someone else sell and market my work so I could 'hide' in my studio.

Linda,

Thats what makes the new online tools so great. I'm actually a very introverted person too....but it's easier for us shy people when we can have a minute to think about it and type it out. I will say that my years as a gallery salesperson did force me to improve my dealing with the public skills tremendously. Practice does definitely help.

Before I get back to work offline, I'll paste a paragraph from the blog into this forum. I hope it helps some of those who have difficulty with conversations to feel more confident.

"Smile: offer a smile to everyone who passes by your booth or looks like they want to talk to you at an opening. Be interested in their favorite subject – "THEM". Be like a golden retriever... it doesn’t hurt if they like the artist as much as the work. If I see someone contemplating one of my artworks, that’s my signal to engage that person or couple in conversation. I avoid using words that have a negative connotation by leaving out phrases such as, "I tried, attempted, goofed, worked, struggled".. Well, you get the idea. You won’t want to give any indication that you think your work is inferior in any way. After all, they’re probably staring at it in amazement, and the last thing you want to do is insult their taste by implying that you think it’s substandard. If you must, pretend that the painting was done by an artist whom you truly admire."

Thanks Clint, you do us a great service.I'm going to take some time each day to read ( instead of just looking at pictures, lol) Thanks Lori, I will definately read your blog as I'm guilty of saying all the things you mention.

To Eric, you made mention of people who died and haven`t been discovered, that hit me. I went to an estate sale years ago of an elderly lady who passed away, she was a prolific artist by the looks of her home studio. There was a book by Rex Brandt (famous California watercolorist and teacher)hand signed to her, I got that, plus art supplies. She must`ve taken classes by him. I grabbed as much of her watercolors as I could, people were fighting to get her unframed watercolors, I missed quite a few. I took 20 of them home and wrapped them in acid-free tissue paper for years. I just took them out a month ago and I have never seen such incredible watercolor abstracts and botanicals before. She was never discovered, but she has been by me and I intend on keeping everything. I have the 20 watercolor greeting cards, small pieces and larger ones in my studio right now with mounting board so I can mat each one. Not all of them are genius, but quite a few show the utmost talent and quality that moves one to tears. Here was an artist who just practiced her art, painted beautiful pieces, but probably didn`t care to sell it and her family didn`t want to hold onto it, just liquidate the estate. She may be passed on, but my family and I will cherish her art and hold onto her body of work. One day I will scan her art and dedicate a blog to share it.

That's an amazing story, Esther. Apparently, for this artist, the joy was in the creating, not the marketing of her work. How sad that her family did not recognize the value of her work.

Carol... In all due respect you may be confusing STYLE with BRANDING. They are not the same. When I judge art shows I always have them COVER the signatures because sometimes NAMES impact decisions. A judge might think "That must be better because its a Kevin McPhearson" painting. I'm honest with myself when I judge and know that could happen, which is why I have them covered. BUT STYLE is different. I recently judged a show and without knowing the names I was 100 percent sure of who painted them because I knew their style. And in those cases the branding can kick in... the style tells you WHO is is and if WHO is important to you it's because they have established a brand. In other words a STYLE can trigger a brand.

Esther: Great story. I'd love to see them.
I was recently introduced to an artist who spent a lifetime painting. His work was AMAZING yet he was unknown. I was asked to make him known. Film at Eleven...as they say on TV.

Joanne:
The work load of being an artist who markets her own work is overwhelming. Yes it can be a full time job and takes away from painting time, which is what we all love to do most.

Most of us are not fortunate enough or perhaps successful enough to have a full time manager to handle these things so we can paint. Some like CW Mundy have great spouses like Rebecca, who act as manager. That is a blessing.

One of the reasons I started Artist Advocate is because a gallery can play part of that role... if not the PR things at least as a sales agent. This puts artists together with galleries and they both win. Best of all it helps artists stay focused on painting not marketing.

I write the marketing blog to help artists to know the steps if they are doing it themselves (or directing it) because most never acquired those skills I was lucky to learn, which is why I want to share.

E

Eric,

Those are GREAT suggestions. One learns pretty quickly when selling art that it's easy to screw up a sale by launching into your "pitch." A BIG part of sales is just staying out of the customers way and keeping your mouth shut.

Eric, good points all.

Yeah, I learned the lesson about letting the viewer delight in their perception of the painting a long time ago. What it meant to me wasn't important if it means something else to them.

A few years ago, one of my young students did his first outdoor show. He just sat there and smiled at anyone who came in his booth. He's a quiet person, but is confident. Hardly said anything to anyone and sold over $4000 at his first local art in the park show. Today he works with galleries and although he talks to clients at show openings, he prefers that someone else do the leg work.

Tom Weinkle caught my attention when he talked about the fact that everything an artist does should tie into their personal brand.
Tom, it sounds easy but I wish you would elaborate a little on how to do this and get all those things in sync.

I have a way of branding, I send out handwritten
mail. I illustrate the letters and the envelopes.

In this day of email, handwritten mail matters.

I got my NPR interview as a result of handwritten art mail.

Bob, your handwritten letters are an excellent idea in my opinion. Too much is being lost in this electronic age, and I bet those get much more attention than emailed newsletters. I was also thinking of mailing newsletters by snailmail, having something colorful, personal, and unique. I think this would go further than what so many might just consider spam.

So is branding good or bad. If it's forming relationships around a "kick ass" piece of art work, I'm all for it. Branding is the old sense isn't worth it. Very interesting commentary

Carol, I confess, i am not sure who you are writing to on your last post, but I will offer that branding is an important activity,. It is good, if it is done properly. There are degrees of good and bad for everything, and I believe something is better than nothing. I think branding activities that enhance perceptions about one as an artist are good. Activities that create ambiguity, or undermine what your art is about is bad.

i was at an art show this weekend in Miami (as an observer). I stopped in the booth af an accomplished photographer. His work was phenomenal. After a nice greeting, he proceeded to excitedly lecture me on what his work was about, and then why it would be worth som much money in a few years. So, his conversation about his “brand” ended up turning me off, even with the amazing work.

Eric offered very valuable advice about listening.

In a broad sense, branding activities are about reinforcing perceptions about your work. We each have to ask ourselves if what we say, do, show all makes sense and is plausible and in sync or in conflict.

Tom W.'s last sentence bears repeating. "We each have to ask ourselves if what we say, do, show all makes sense and is plausible and in sync or in conflict." I think this say, do, and show goes into areas not strictly in our artwork and obvious marketing, but also how we say, do and, show ourselves in our personal life. One area of our life spills over into the other. People don't necessarily distinguish which part of our "brand" is personal and which is professional.

I agree with Lee's comment - "People don't necessarily distinguish which part of our 'brand' is personal and which is professional" - which is why I believe we need to think hard about the impressions we make, be it speaking, writing our contact info on a napkin (vs. leaving a card), a portfolio (neat, clean, accessible vs. sloppy and disorganized), etc. All of it is our brand. Sloppy may be just fine if it's who you are, but be intentional about it.