My Second Year Goals

My first year ended well 

I joined a number of artist organizations entered several juried shows including one international and was accepted.  I had my website, hosted by Fine Arts Studio Online up and running with some unexpected side benefits. FASO gave me access to artists, contests and newsletters. All valuable in assessing what I would be up against if I wanted to compete in a global arena. Looking back it clearly accelerated my progress and allowed me to “fast track” my career by focusing on “best of breed “.

I stayed within the frame work of my first year goals. The first year wasn’t about selling or even producing salable art, but honing my skills as a painter. I spent 6 months painting en Plein air and developed my awareness and observation skills. It soon became apparent I needed to move into a studio environment which I did. I prefer to loosely paint from photo references, studies and occasionally paint en Plein Air as a refresher course when needed. My First year was really less than 9 months and I completed 202 oil paintings of various sizes 8x10 up to 30x40. I also made it a point to stay within standard sizes and standard frames.

Second year goals

My second year goals were a continuation of the first and adding the following four (4) new goals.

• Develop marketable art

• Establish a selling price

• Test the market and establish a value

• Get accepted in OPA (Oil Painters of America) National 2010 exhibit

Building a product

My plan was to develop art people would like to hang on their best walls, as a designer I have a fair idea what might be appropriate. I was already getting a fair idea of what might work from the juried shows I was entering. It did help a bit with market testing.  However this didn’t help establish pricing and value. Looking back this would be a challenge!! 

Building a value

The first thing I had to do was establish price for my art. Value is established with actual sales. I tried by the inch, by the hour with material, read what I could on the subject and ended up tossed it all!! No one seemed to have a start-up answer besides art has too many variables so none of it worked!!!

Comparable value

I finally started looking at other established artists with “comparable” art to mine. Many publish their prices, and if they had a lot of red dots (sold signs) they got my attention.  In truth the prices went all over the board, but at least it gave me a range and an idea of what the market would bare.

Fine Art Studio Online was big help in this area because of easy access to huge body of well established artist – all you had to do was follow the links to their web sites. Generally it led you to galleries and prices. The pit fall here is you have to make an honest judgment call “is my art comparable”?

 

In the very beginning I moved around a bit, but eventually with sales I was able to firm up a base for each canvas size. I also keep it within the mid-range of comparable art sold on a national basis (not regional). Another consideration to keep in mind, if you want collectors to buy your work, you have to maintain your line and your prices need to move forward not backwards. Art is also an investment to many collectors! 

Building quality

I can tell you from experience the buying public has a good eye. They always choose the best ones!! As artists we have ebb and flow to our work – in my case it always seem to be in groups of 5 to 10 paintings. I think it happens because we are continually honing and improving our art. I’m a series painter and may do a group Venice theme paintings until I get bored. If I’m on my game the last one is the best, if stay too long it’s my worst.  

Organizing painting history

As a daily painter and I’m organized so all my paintings from day one were numbered photographed and recorded. It has a lot of benefits; I can see patterns very clearly, my progress, my ebbs and flows, my winners (some stinkers) and my sales displayed graphically in thumbnails. If your painting reads well as a thumbnail the chances are it will at 30 feet too. I also don’t believe in painting over or modifying your history – how would you or anyone evaluates your progress as an artist if you destroy your history! I know it’s done, but I don’t!

Marketing

Galleries would be out of the question as a newbie in a bad economy. Besides I was in the early stages of developing my art and not nearly ready for galleries. Juried shows did get you through the front door of some good ones. Art and galleries are typically regional. Newly relocated in Richmond, I had few connections. In all likelihood an outsider won’t sell, unless well established.  I was left with the internet and my website, which had a PayPal link. My first sale was actually off the internet from a Google search – a lot to be said for search engines titles.

Art values obviously have a lot of variables; if I wanted to eventually use the gallery system which I did I had to line my prices up to carry typical gallery fees.

I did briefly look at a few local galleries and even made a few submissions via e-mail, what it told me, I was wasting my time, time I didn’t have to waste. I needed another way to know if my art would sell and at what price! I also wanted control over what art was shown and how my art was presented and displayed. No compromises here!

I got lucky

During my gallery search I came across an art center called Crossroads Art Center with a clever artist friendly approach, basically you lease your wall space or studio and they assist with sales and charge a modest fee. I signed up and got involved. They also had a juried art show every 2 months with a well attended opening, typically 1000 plus. All I can say is “Great local exposure”! Exactly what I needed at the right time!

Within a year, between the internet and Crossroads I had some of my answers. Marketable art and the beginnings of price structure established. Some of first year things which paid off big in the second and especially going into the third year were all the organizations I joined. The associated national and international juried shows I participated in. It established a very high bar for myself and gave me a credible foundation as an artist and professional!

First OPA National Exhibit

#436 Koi and Lilies 20x20 oil on linen accepted in 2011 OPA National exhibition of  Traditional Oils

One of my second year goals was to get juried into 2010 OPA (Oil Painters of America) National exhibit; I was already in the Eastern exhibit twice, but the all important 2010 national was a bit more elusive I missed on my first attempt. My next opportunity would be the 2011 which I was juried in. The completion is fierce because only a small percentage is chosen so it’s really a Hugh Honor and greatly appreciated by this artist!!!

An Unlikely Connection

Networking

While pursuing like minded artists, I found myself on an international site called Paintings I Love http://www.paintingsilove.com/ - basically an artist social network where you upload your paintings and the community vote and comments on each other work. I think for isolated artists (many are) it's a support group and at some level a way of receiving validation. 

Cyber mates

The community is a very good mix of entry level and professional artists. PIL had another aspect, international connections. I made many cyber friends, but one in particular, a young emerging British Impressionist I’ll call "Night Painter". We teamed up, formed an alliance and became cyber painting mates. We chat art on a daily basis, swap information, support and mentor each other. I push him he pushes me. It works because we have identical goals and in truth completely committed to careers as fine oil painters and will do what it takes!!  To date I’ve found few with that commitment and when I do, those are the emerging and successful ones. I think many are caught up in the romance of art and the idea of being an artist and once they understand the commitment (if they ever do) have to make a decision pleasure or professional, and what they expect from art. If not, it’s a recipe for absolute failure. Being an artist as it turns out is a very complex undertaking. For me its 24/7, for night painter it’s not, his challenges are greater than mine. He also has full time employment and I might add very demanding at that! Yet he still tries to paint daily or if nothing else catch up on favorite links or watch one of his art DVDs waiting for his weekend of painting. His situation is typical for an emerging artist. Even so he’s making serious progress building his base. I’m 24/7 and as result moving faster and one might say “plowing the path” night painter gets a glimpse of his future.

This unlikely connection allowed both of us to cross international lines, In my case London with the Venice in Peril Exhibit at W H Patterson and him International Salon at Greenhouse Gallery. San Antonio, TX. We both enter juried online and brick & mortar gallery exhibits. We do this because we know if we stay "isolated" as many artists do, we won’t grow and develop into truly fine oil painters, our main goal. You have to know what your competition is and match or better it!! The best way to do it, enter prestigious national and international shows. These events are always at the better galleries, hence the “best exposure” and the “best company”

While our plan is simple the goals are monumental, but like anything if you break it down into workable pieces it becomes manageable. It's different for each of us but we both choose to build a proper foundation,  a good product first! There's no point marketing a bad one. Developing your craft, receiving validation, making connections, joining like mined groups and organizations needs to be in place first!

My Review of Centurion Deluxe Oil Primed Linen Rolls

Originally submitted at Jerry's Artarama Art Supplies

Centurion OP DLX Professional Canvas Rolls Superb performance and perfect color retention Specifically designed for oil painters Oil primed for the most brilliant results Made of medium weight linen All purpose weave and beautiful surface texture Exclusive OP enhanced...

Centurion Deluxe Oil Primed Linen Rolls

I simply like this product!

By Chuck from Richmond, Virginia on 7/1/2011

 

5out of 5

Describe Yourself: Artist

Primary use: Business

Was this a gift?: No

The Centurion OP DLX Oil Primed Linen has a fine weave which gives the canvas a nice tooth and not heavy on the texture - Nil absorbancy and colour retention is excellent and no additional priming is required. So far I've stretched it up to 60x72 without any issues. The price is clearly reasonable, but it's not the reason I continue using the canvas!

(legalese)