Art Print Issues by Barney Davey

What is a Giclée? Summer Repost

Ed. note: I'm taking some time off for vacation. It's a good time to repost some of the most popular articles from the past. Here's one from April 2007 that gots lots of comments. Read it and you'll see why.

It can be a humorous adventure to go on Web sites where digital reproduction are sold under the Giclée moniker and read the vain attempts to explain: what the word means; its genesis; how to pronounce it; or to accurately describe the process of creating digital reproductions.

Poor desciptions and explanations are a detriment to true acceptance

The reality for the art industry is it really isn't a laughing matter. There literally must be thousands of poorly informed and worse written descriptions floating around cyberspace these days. Many with futile attempts to inform collectors and surfers what the heck is a giclée. The term has become as nondescript and amorphous as the word "print."  The more the word and its description gets mucked up, the more confusing the term becomes to the public and the less ability it has to be a powerful valuable descriptor.

The information to learn about the word and its genesis is easily available

There isn't enough space here to go into the history and meaning of the word. However, I do commend to you the following information and strongly suggest any who are truly interested in understanding what a digital print or giclée is to spend time with these links. They provide the best most accurate detailed history I've seen. It is from Harald Johnson, author of Mastering Digital Printing (Digital Process and Print). Johnson generously offers these excerpts on his Web site pulled from the above-mentioned book: What's in a Name: The True Story of "Giclée" and Digital, Fine Art Printing Comes of Age.

If there is a soapbox here, it comes from the frustration some artists and printers have with the loose use of giclée to represent digital fine art reproductions. When a term can be used to describe a homemade print coming off an Epson desktop printer based a low resolution digital photograph or worse, an image scanned from a garden variety photograph and also a meticulously produced digital print that might have taken hours just to setup the image capture and more hours to thoroughly manipulate the RIP software and printer calibrations to produce a masterful faithful reproduction on fine art paper or canvas, then the industry has a problem.

It's only taken a short time to marginalize the term

In a nutshell, the term "giclée" has become nearly as generic as Kleenex. Did you know that the words aspirin, thermos and fridge all started as a trademarked name and look at them now. Giclée itself has never been trademarked. But there are many companies now trying to incorporate it into a trademark, Tru Giclée, UltraGiclée and a handful of others are being bandied about as companies such as Epson attempt to get their brand into the process. News flash, these marketing maneuvers are not going to help the industry as a whole; collectors are never going to clamor for an UltraGiclee or any other trademarked process. They will continue to trust dealers and gallerists to guide them to purchases based on their interest in the artist and the art.

Another debate regarding digital printing is there are those who think it is bad for business for companies such as Epson and H-P to be exhibiting at shows such as ArtExpo. They believe it confounds the pubic, confuses artists and does nothing to elevate the process. Remember, the whole reason giclée got into the vernacular was an attempt to move away from techie terms like computer generated digital print. That sounds like something you can make at home whereas giclée has that hoity-toity je ne sais quoi quality to it.

Does the term serve your needs today?

I don't blame anyone for using the term giclée, but I also don't blame those artists and printers who are moving away from it either now that it has come full circle and no longer has the cachet of something special. To be honest, seeing pixellated digital prints from well known highly publicized artists at ArtExpo adds yet more negativity and cynicism around the giclée moniker.  That's another post, but anyone looking at this can see it is problematic for the business.

Back in the day long before the first digital print hit the market when Bill Humberg was editor and publisher of Decor magazine, there was terminology used to delineate a fine art print such as an etching, mezzotint, etc., from a reproduction. Graphics were used to describe high-end pieces designed as originals in the print medium of choice, i.e., serigraphs, linocuts and so forth. Prints was used to describe those pieces that were reproductions. At that time they were primarily offset lithography on paper. Even then you saw poster publishers using graphics in their company names, but at least there was an effort to bring order to the confusing array of terminology.

Lack of governance means its the wide open west when it comes to adopting standards

The problems with getting everyone in the industry to use standards for descriptions will never cease. There is no governing body, no real authority to monitor usage and make positive changes where necessary. Where we go from here is anybody's guess. As individuals you can help by becoming and staying informed about correct terminology, printing processes and the business of the art print market. If you can clearly articulate what is a giclée to a lay person, you will help yourself and the industry in the process. If you can suggest changes to someone using the term inappropriately, you will help. With the ease of access to voluminous information available to all consumers these days, it's more important than ever for all involved to be forthright and clear on what we are selling to the public. It's harder to fool them, although my recent posts on convicted felons Kristine Eubanks and husband Gerald Sullivan and cruise ship art auctions belies that notion.

If you have followed my musings, you know I champion having open editions on giclées unless the editions are truly limited to very small sizes such as 95. Consumers realize it's easy to run off more copies once an image is digitized. With open editions, there is never the worry that more than the stated edition size was sold...it is a non-issue. To me, the issue ought to be selling the intrinsic value of the art on the paper or canvas without having to resort to a limited edition marketing gimmick.

The need and desire for limited editions will never completely pale

There will always be a place for limited editions, I just believe the giclée market is not the right place for them. Some limited edition prints might sell well for years if they were open. Imagine how much money is left on the table when something like that happens. Sure an artist can continue to paint more like before, but there is magic with some pieces that can't be recaptured. Often neither artist or publisher can say with authority that a certain piece will get legs and sell through the roof. But experienced ones know it happens and they can count on it, but can't tell you why. Limited edition giclées shut the door on such possibilities.

See you soon!

If you want to follow the comments follow this link: http://www.artprintissues.com/2007/04/what_is_a_gicle.html

It can be a humorous adventure to go on Web sites where digital reproduction are sold under the Giclée moniker and read the vain attempts to explain: what the word means; its genesis; how to pronounce it; or to accurately describe the process of creating digital reproductions.

Poor desciptions and explanations are a detriment to true acceptance

The reality for the art industry is it really isn't a laughing matter. There literally must be thousands of poorly informed and worse written descriptions floating around cyberspace these days. Many with futile attempts to inform collectors and surfers what the heck is a giclée. The term has become as nondescript and amorphous as the word "print."  The more the word and its description gets mucked up, the more confusing the term becomes to the public and the less ability it has to be a powerful valuable descriptor.

The information to learn about the word and its genesis is easily available

There isn't enough space here to go into the history and meaning of the word. However, I do commend to you the following information and strongly suggest any who are truly interested in understanding what a digital print or giclée is to spend time with these links. They provide the best most accurate detailed history I've seen. It is from Harald Johnson, author of Mastering Digital Printing (Digital Process and Print). Johnson generously offers these excerpts on his Web site pulled from the above-mentioned book: What's in a Name: The True Story of "Giclée" and Digital, Fine Art Printing Comes of Age.

If there is a soapbox here, it comes from the frustration some artists and printers have with the loose use of giclée to represent digital fine art reproductions. When a term can be used to describe a homemade print coming off an Epson desktop printer based a low resolution digital photograph or worse, an image scanned from a garden variety photograph and also a meticulously produced digital print that might have taken hours just to setup the image capture and more hours to thoroughly manipulate the RIP software and printer calibrations to produce a masterful faithful reproduction on fine art paper or canvas, then the industry has a problem.

It's only taken a short time to marginalize the term

In a nutshell, the term "giclée" has become nearly as generic as Kleenex. Did you know that the words aspirin, thermos and fridge all started as a trademarked name and look at them now. Giclée itself has never been trademarked. But there are many companies now trying to incorporate it into a trademark, Tru Giclée, UltraGiclée and a handful of others are being bandied about as companies such as Epson attempt to get their brand into the process. News flash, these marketing maneuvers are not going to help the industry as a whole; collectors are never going to clamor for an UltraGiclee or any other trademarked process. They will continue to trust dealers and gallerists to guide them to purchases based on their interest in the artist and the art.

Another debate regarding digital printing is there are those who think it is bad for business for companies such as Epson and H-P to be exhibiting at shows such as ArtExpo. They believe it confounds the pubic, confuses artists and does nothing to elevate the process. Remember, the whole reason giclée got into the vernacular was an attempt to move away from techie terms like computer generated digital print. That sounds like something you can make at home whereas giclée has that hoity-toity je ne sais quoi quality to it.

Does the term serve your needs today?

I don't blame anyone for using the term giclée, but I also don't blame those artists and printers who are moving away from it either now that it has come full circle and no longer has the cachet of something special. To be honest, seeing pixellated digital prints from well known highly publicized artists at ArtExpo adds yet more negativity and cynicism around the giclée moniker.  That's another post, but anyone looking at this can see it is problematic for the business.

Back in the day long before the first digital print hit the market when Bill Humberg was editor and publisher of Decor magazine, there was terminology used to delineate a fine art print such as an etching, mezzotint, etc., from a reproduction. Graphics were used to describe high-end pieces designed as originals in the print medium of choice, i.e., serigraphs, linocuts and so forth. Prints was used to describe those pieces that were reproductions. At that time they were primarily offset lithography on paper. Even then you saw poster publishers using graphics in their company names, but at least there was an effort to bring order to the confusing array of terminology.

Lack of governance means its the wide open west when it comes to adopting standards

The problems with getting everyone in the industry to use standards for descriptions will never cease. There is no governing body, no real authority to monitor usage and make positive changes where necessary. Where we go from here is anybody's guess. As individuals you can help by becoming and staying informed about correct terminology, printing processes and the business of the art print market. If you can clearly articulate what is a giclée to a lay person, you will help yourself and the industry in the process. If you can suggest changes to someone using the term inappropriately, you will help. With the ease of access to voluminous information available to all consumers these days, it's more important than ever for all involved to be forthright and clear on what we are selling to the public. It's harder to fool them, although my recent posts on convicted felons Kristine Eubanks and husband Gerald Sullivan and cruise ship art auctions belies that notion.

If you have followed my musings, you know I champion having open editions on giclées unless the editions are truly limited to very small sizes such as 95. Consumers realize it's easy to run off more copies once an image is digitized. With open editions, there is never the worry that more than the stated edition size was sold...it is a non-issue. To me, the issue ought to be selling the intrinsic value of the art on the paper or canvas without having to resort to a limited edition marketing gimmick.

The need and desire for limited editions will never completely pale

There will always be a place for limited editions, I just believe the giclée market is not the right place for them. Some limited edition prints might sell well for years if they were open. Imagine how much money is left on the table when something like that happens. Sure an artist can continue to paint more like before, but there is magic with some pieces that can't be recaptured. Often neither artist or publisher can say with authority that a certain piece will get legs and sell through the roof. But experienced ones know it happens and they can count on it, but can't tell you why. Limited edition giclées shut the door on such possibilities.

See you soon!

If you want to follow the comments follow this link: http://www.artprintissues.com/2007/04/what_is_a_gicle.html

It can be a humorous adventure to go on Web sites where digital reproduction are sold under the Giclée moniker and read the vain attempts to explain: what the word means; its genesis; how to pronounce it; or to accurately describe the process of creating digital reproductions.

Poor desciptions and explanations are a detriment to true acceptance

The reality for the art industry is it really isn't a laughing matter. There literally must be thousands of poorly informed and worse written descriptions floating around cyberspace these days. Many with futile attempts to inform collectors and surfers what the heck is a giclée. The term has become as nondescript and amorphous as the word "print."  The more the word and its description gets mucked up, the more confusing the term becomes to the public and the less ability it has to be a powerful valuable descriptor.

The information to learn about the word and its genesis is easily available

There isn't enough space here to go into the history and meaning of the word. However, I do commend to you the following information and strongly suggest any who are truly interested in understanding what a digital print or giclée is to spend time with these links. They provide the best most accurate detailed history I've seen. It is from Harald Johnson, author of Mastering Digital Printing (Digital Process and Print). Johnson generously offers these excerpts on his Web site pulled from the above-mentioned book: What's in a Name: The True Story of "Giclée" and Digital, Fine Art Printing Comes of Age.

If there is a soapbox here, it comes from the frustration some artists and printers have with the loose use of giclée to represent digital fine art reproductions. When a term can be used to describe a homemade print coming off an Epson desktop printer based a low resolution digital photograph or worse, an image scanned from a garden variety photograph and also a meticulously produced digital print that might have taken hours just to setup the image capture and more hours to thoroughly manipulate the RIP software and printer calibrations to produce a masterful faithful reproduction on fine art paper or canvas, then the industry has a problem.

It's only taken a short time to marginalize the term

In a nutshell, the term "giclée" has become nearly as generic as Kleenex. Did you know that the words aspirin, thermos and fridge all started as a trademarked name and look at them now. Giclée itself has never been trademarked. But there are many companies now trying to incorporate it into a trademark, Tru Giclée, UltraGiclée and a handful of others are being bandied about as companies such as Epson attempt to get their brand into the process. News flash, these marketing maneuvers are not going to help the industry as a whole; collectors are never going to clamor for an UltraGiclee or any other trademarked process. They will continue to trust dealers and gallerists to guide them to purchases based on their interest in the artist and the art.

Another debate regarding digital printing is there are those who think it is bad for business for companies such as Epson and H-P to be exhibiting at shows such as ArtExpo. They believe it confounds the pubic, confuses artists and does nothing to elevate the process. Remember, the whole reason giclée got into the vernacular was an attempt to move away from techie terms like computer generated digital print. That sounds like something you can make at home whereas giclée has that hoity-toity je ne sais quoi quality to it.

Does the term serve your needs today?

I don't blame anyone for using the term giclée, but I also don't blame those artists and printers who are moving away from it either now that it has come full circle and no longer has the cachet of something special. To be honest, seeing pixellated digital prints from well known highly publicized artists at ArtExpo adds yet more negativity and cynicism around the giclée moniker.  That's another post, but anyone looking at this can see it is problematic for the business.

Back in the day long before the first digital print hit the market when Bill Humberg was editor and publisher of Decor magazine, there was terminology used to delineate a fine art print such as an etching, mezzotint, etc., from a reproduction. Graphics were used to describe high-end pieces designed as originals in the print medium of choice, i.e., serigraphs, linocuts and so forth. Prints was used to describe those pieces that were reproductions. At that time they were primarily offset lithography on paper. Even then you saw poster publishers using graphics in their company names, but at least there was an effort to bring order to the confusing array of terminology.

Lack of governance means its the wide open west when it comes to adopting standards

The problems with getting everyone in the industry to use standards for descriptions will never cease. There is no governing body, no real authority to monitor usage and make positive changes where necessary. Where we go from here is anybody's guess. As individuals you can help by becoming and staying informed about correct terminology, printing processes and the business of the art print market. If you can clearly articulate what is a giclée to a lay person, you will help yourself and the industry in the process. If you can suggest changes to someone using the term inappropriately, you will help. With the ease of access to voluminous information available to all consumers these days, it's more important than ever for all involved to be forthright and clear on what we are selling to the public. It's harder to fool them, although my recent posts on convicted felons Kristine Eubanks and husband Gerald Sullivan and cruise ship art auctions belies that notion.

If you have followed my musings, you know I champion having open editions on giclées unless the editions are truly limited to very small sizes such as 95. Consumers realize it's easy to run off more copies once an image is digitized. With open editions, there is never the worry that more than the stated edition size was sold...it is a non-issue. To me, the issue ought to be selling the intrinsic value of the art on the paper or canvas without having to resort to a limited edition marketing gimmick.

The need and desire for limited editions will never completely pale

There will always be a place for limited editions, I just believe the giclée market is not the right place for them. Some limited edition prints might sell well for years if they were open. Imagine how much money is left on the table when something like that happens. Sure an artist can continue to paint more like before, but there is magic with some pieces that can't be recaptured. Often neither artist or publisher can say with authority that a certain piece will get legs and sell through the roof. But experienced ones know it happens and they can count on it, but can't tell you why. Limited edition giclées shut the door on such possibilities.

See you soon!

If you want to follow the comments follow this link: http://www.artprintissues.com/2007/04/what_is_a_gicle.html

Making Fine Art Prints - Perspective from a Photographer

Whether you are making digital fine art prints from photographs shot with the intention of recreating them as prints, photographs or scans of original 2D flat art, or creating something wholly digital through the array of tools for such purposes, you still need a way to get the product of your creativity on some substrate, usually paper or canvas.

There are different paths depending on where you start in the creative process. For photographers, it's going to be different from painters. This post is to alert you to a series of blog posts on fine art printing from Brian Auer, a San Diego based photographer. This description is taken from his website:

Brian Auer is a photography enthusiast from San Diego, California. He's also the guy behind the Epic Edits Weblog. As a hobbyist photographer since 2003, his passion has been to constantly improve his photography skill set, to share his own knowledge with others, and to become an integral part of the photographic community.

Brian is proof positive that one turned on person can make a difference. His Feedburner subscriber shows nearly 6,500 other enthusiasts share his passion for photography. To get that many subscribers, it takes more than passion. One has to impart knowledge, wisdom and insight in such a way that others want to tap into it. He serves a great role model for anyone looking to build a following, a Tribe, as Seth Godin accurately calls them in his bestselling book, Tribes: We Need You to Lead Us.

To give his readers easily digestible amounts of information, Brian has broken his article on Making Fine Art Prints into four parts. I am sure you will find it worth the time to review his thoughts on this subject. While you are on his site, check out the rest of what he offers his readers. There is a reason he has a large following.

While what he offers in the way of advice and insight is solid, it won't apply across the board to every artist. Nevertheless, there is useful information in his series of posts on making fine art prints. Perhaps just as importantly, there is much to be gained from studying how an self-proclaimed amateur photographer can carve out a meaningful place against the Internet's constantly changing means of putting together like minded folks. Bravo to Brian!

Artist Drew Friedman Launches Fine Art Print Publishing Company

Dean Martin - by Drew Friedman 

Renowned illustrator Drew Friedman, in collaboration with Irwin Chusid and Barbara Economon, has launched a new Web site at: DrewFriedman.net. The site is the exclusive source of fine art prints featuring new works by the iconic illustrator.

The art, much like the artist's career, is exceptional and eclectic. In our age of celebrity worship, e.g., 3 million Twitter followers for Ashton Kutcher, (no offense AK, I get you are riding the wave, but really, who cares and who are those people?), it's refreshing to find an artist who chooses mostly offbeat, anti-celebrity subjects to immortalize in his unique style.

Many who have followed this blog for the past three years know I am not a fan of limited editions for digitally printed art. That is, with the exception of very low numbers. It's arbitrary, but I have put the number at 100. Otherwise, it's just a marketing gimmick in my humble opinion.

Friedman and his experienced art professional partners have launched the site and the publishing business on a model of using the extremely low number of 30 in their editions. Now, if you are an artist who creates slowly, this can be a financial problem. On the other hand, if you can turn out the work quickly enough, a low-numbered edition model puts you in a league of your own. Friedman's achievements and oeuvre already put him in such a league. Following up with this daring and unique idea of very small edition sizes is sure to create devoted collectors for his work.

The flip side of low numbers is unlimited numbers. I'm not necessarily suggesting the idea for Drew Friedman and company, although I think it could work for them with the right image. As always, I feel the way to make unlimited editions have value is to number them sequentially. If the artist sells thousands of an image, everyone in the distribution channel, including buyers, gets to enjoy the art.

With nothing but brave conjecture to back up the theory, I go out on limb to say the low numbers of a sequentially numbered edition would have more value than higher numbers. In other words, they would be collectible despite freshly minted reproductions being available. Perhaps some other numbers would be valuable as well. If a date was painted in the picture, or perhaps the number correlating with subject's birth, death or debut date would have more value. Collectors tend to make up their own rules about what aspects make an item dear to them.

Best wishes to Drew, Irwin and Barbara for tremendous success in their new art publishing venture!

Is an On-site Print-on-demand Giclee Printer in your Future?

Living in the future, none of this has happened yet - Bruce Springsteen

Lightning Source International is the printer of my book, How to Profit from the Art Print Market. The company does a great job of making it widely available to booksellers both online and traditional with its print-on-demand technology. I can order one or 100 at great prices, but I don't bother with fulfillment. It's easier to let retailers such as Amazon.com and Barnes and Noble handle it for me. Today, I got what could be a glimpse of the future for the art print market. It's the Expresso Book Machine.

Brick and mortar retailers of all kinds are now going to be able to offer high-quality books delivered immediately on site. This development has interesting and potentially widespread implications for retailers. Can you imagine buying your favorite book while waiting for your Caffe Latte at your favorite coffee shop? I can.

Can Giclee prints delivered on demand be available in retail stores be far off?

With the constant evolution of digital printmaking capabilities, I imagine it is only time before Epson or HP, or one of their many competitors comes along with a plan to put on-site on-demand digital fine art prints in local retail stores. If a company such as Allposters.com, which along with its sister site, Art.com are the largest retailers of art prints worldwide decide this is a market it wants to be in, it could bring yet another game changing development to the art print market. Granted, the print speed for making digital prints, aka giclees, is nowhere near the speed of making a book as shown in the video here. But, quality and speed continue increase dramatically.

Should such technology come along for the art print market, it wouldn't necessarily be just to the advantage of the big retailers like Art.com. I think it could be a way for local artists, perhaps art guilds, to level the playing field. As threatening such a development could be to established fine art giclee printers, it could also be an opportunity for them to create new markets for themselves as well. This is high concept thinking. There would be a multitude of details before an idea like would come to fruition.

Nevertheless, as much as things have changed in the business over the past decade, I think we are just beginning to understand the dramatic developments of the way visual artists will get their work to market in years to come. Stay tuned, the future is just around the corner. It's only promise is it will not be as we know things now and opportunities will abound for those who embrace the changes.

P.S. The deadline to register to win a Milton Glaser signed poster is May 31. Here is the scoop:

Milton Glaser Documentary Premiers May 22: You can win a signed poster promoting it or his book! ' http://bit.ly/bBxor 

Art Marketing Today - Making Sense of the Bits

Artists are seekers. I've never known one that wasn't seeking something with his or her art. Once bitten by the potent urge to create and make something of the talent, it's hard, if not impossible, to put the quest down. Put it off for expediency and steady currency yes, but forget about it -- never.

Here are a collection of disparate bits (links) I found to be interesting and compelling on their own. And, I also find a common thread running through them. Let me see if I can thread the needle for you.

Meet the boss

We'll start with the boss. That would be the formidable Katherine Tyrrell, the unparalleled blogger of Making a Mark. I call her the boss because she has put together a authoritative world class series of artist information Squidoo lenses to go along with her widely read blog. How she finds time for it all and manages to paint marvels me. It rivals the likes of the creative informative output of Robert Genn with his famous Twice-weekly Letter.

Katherine's post today is about something on every artist's mind, or ought to be. That would be how can I learn more about and get better at selling art online? She has decided it is enough of a big subject itself she is breaking if from her information rich Art Business - Resources for Artist Squidoo Lens. She is calling for your help. If you know of other sites where artists can sell their work not listed on her Art Business lens, please forward them to her.

High-end art market tanking...duh!

Bloomberg News had this headline today: Art Market May Take 3-5 Years to Recover, Survey Company Says. Go figure. Who would have known? I surmise it woud be just about every lucid person on the planet. But, somebody paid to prove the obvious. The article was based on research by an outfit called Art Tactic, Ltd. Granted, the article is what is happening at the top-tier "art as investment" fine art auction scene. However, what happens at the top trickles down. That is, it's hard for lower priced work to take big leaps up when prices of the most highly valued pieces are being depressed. The lesson here is it is another reason to be figuring out how to sell your art online, or any where else where willing buyers can be found for that matter. Perhaps the message is to work in a style that suits your local area in a way that will help insulate you from the larger push down on art prices.

Would have Picasso sold giclees?

This brings us to an article published by artist Henry Bateman. He's made a living as an artist for a long time and is an astute observer of the market from both a personal perspective and from a more macro look over time and circumstances. He published this online article, Are Giclee Prints Collectible? In it, he makes the case that Picasso would have embraced the giclee medium. He concludes that those prints that are remarqued with a bit of "graffiti" as he calls on it are the ones that will be collectible. He could be right. Another way to look at it would be sequentially numbered, but open edition pieces, might see the lower numbers become more collectible than higher numbers.

What is just as interesting about this article is where he published it. That is, the Home Improvements Directory.com. A very good place to be promoting himself as a knowledgeable art insider who just happens to be an artist himself. Nice bit of self-promoting to a targeted audience. Kudos to Henry. He's thinking outside the box on how to up his visibility online and potentially with some of his best prospects.

How to hook new customers and great publcity

Joan Ambrose-Bibbo is a multi-talented artist with a unique story. One that begs for publicity that practically writes itself. Son of a gun if that isn't exactly what happened. She was recently covered in a hometown paper, The Mercury, which serves Pottsdown, PA and surrounding counties. The story is titled, Hooked on Art. It details her career as a graphic artist (A familiar tale about paying the bills.) 

Her real passion is making hooked rugs. With her artistic talents, she has come up with great designs and an in-demand product. So much so, she's turned to making giclee prints of the work and has a new source of revenue with the pieces selling in local galleries. She obviously has a look that ties in to the design themes and interests of her regional locale. Finding more and new ways to stretch your talent and reach a willing market is more crucial now than any previous time. There is lots to be learned here. Follow your passion, be creative about how to make your work, be unique and look for opportunities to let the media blow your horn with stellar priceless publicity.

Living your dream in the 2000s

Lastly, we'll look at Katie Davis. Like Henry Bateman, she has taken up pen to write articles online. This format gives her a boost in awareness while promoting a point of view and a subtle, but nonetheless obvious, agenda to help her sell her art. And, she has a great message for artists, or anyone else for that matter. In her article, How to Live Your Dream, she narrates navigating an interesting and changing career and life path that I'm sure many reading this can relate to in some fashion.

The path has taken her from starting out with a fine art degree and gravitating painting sets for movies and television. The tour takes her through creating greeting and notecards sold in local galleries. Where it gets interesting is how she has morphed that interest and talent into her own online e-card company at www.KatiesCards.com. The business allows her to unleash her creativity, learn new skills and enjoy a growing business where she works from home allowing her to be there for her kids. Nicely done Katie.

Seek and ye shall find

If you see a pattern of entrepreneurship, of not following the beaten path, of using the Internet in unique ways, then you have followed the thread. The artists mentioned here all are finding the time to do things to help themselves, to promote themselves, away from the easel. They have each embraced the Internet in their own way. Let them be an inspiration to you to try new things and to not convince yourself there is not enough time. If it's important, there is always time. Nurturing your career is as crucial as building your body of work and growing as an artist and as a seeker.

Phony Prosperity Plummets - Chinese Oil Painting Biz Hits the Skids

Thomas Friedman, the Pulitzer Prize winning columnist and bestselling author of Hot, Flat, and Crowded: Why We Need a Green Revolution--and How It Can Renew America had an December 20 Op-Ed piece in the NY Times that caught my eye. In China to the Rescue? Not!", he discusses how China is not in a position to stimulate its domestic demand and thus help lift the rest of the world's economies out of their collective downward spiral. In a nutshell, it's not going to happen. 

Phony Prosperity Too Good To Be True

In the phony prosperity propped up in great part due to our partnership with China, where we bought ever cheaper stuff we thought we needed, but really didn't, while they bought our deepening debt, it worked until it didn't. That's where we are today. Now Chinese workers are feeling the same pinch as are those in U.S.

Chinese Oil Painting Suppliers Feeling Economic Pinch

To illustrate his point, Friedman used the example of how the art village of Dafen, the world’s leading center for mass-produced artwork and knockoffs of masterpieces — had been devastated by the bursting of the U.S. housing bubble. Apparently what used to be said about our neighbors to the North and South is now a global phenomenon. That is, when the U.S. sneezes, they would catch a cold.

Art Business Has Sex Appeal

Friedman could have picked from any of thousands of other industries where low cost Chinese manufacturing has knocked the pins from under them. It proves that although relatively small by comparison to giant businesses making furniture, machinery, etc., the art market is intriguing. It will good to remember on the days when you have second thought about painting for a living you are in a sexy intriguing business. The kind a well known columnist will showcase in an Op-Ed piece.

Sex appeal aside, you have to instinctively realize that this news from China is as much a cause for concern as it is an opportunity to look up the meaning of schadenfreude. So, take a moment to feel some glee for knowing your knockoff nemesis has hit a very rough patch. Then take a breath and realize there is little upside for you in their downfall. 

Holiday Sales Hit Retail Businesses Hard

The news today on retail sales is it is alarmingly abominable. The deepest discounts and desperate bundling techniques failed to shake dollars from consumers wallets. Considering that we are in a business providing a product that is to most a completely dispensable luxury, none of this is good news.  

There has been a slew of articles from business pundits, art and otherwise, offering untold guidance on how to survive the current downturn. It ranges from the practical to plain pollyanish. There seems to be so much that if one were to digest and act upon all of it they would soon find themselves enveloped in a paroxysm of paralysis induced by a potent combination of overexposure to bad news and bland advice. Undaunted, yours truly weighs in with observation and opinion.

Consumers Have Spoken - Make Sure You Are Listening

The consumers have spoken; they get it. They are scared and not buying things they don't need any longer. Keeping up with Joneses has given way to keeping up with the mortgage. This puts artists in a bad position, especially those who have not yet developed both a strong dealer and collector base.

Anyone who would seek to soothe you now offering advice laced with few bars of "Everything's gonna be alright," or "Don't worry, be happy" is be taken skeptically. While it's not time to get a gun and head to the hills, it's surely not time to be laying out grand plans for major expenditures either. Certainly, it's not a time to take lightly that economic conditions are eroded nearly beyond comprehension or to be persuaded a turnaround will be measured in months. Here is the unvarnished truth. It's going to take years to fix the problems we are dealing with now. And, that is if we don't take more unexpected shocks on the economic, war or terrorism fronts.

What Can You Do?

Watts Wacker, the brilliant futurist, a subject of a previous post here, who along with co-author Jim Taylor wrote the 1997 international bestseller, The 500 Year Delta: What Happens After What Comes Next . Here is part of a review of it from the InnovationWatch.com Web site:

The 500-Year Delta ultimately is about the shifts of perception needed to prosper in a future that is fundamentally, unrecognizably different. It is about surviving and thriving in an economy inhabited by two kinds of workers: owners and temps -- in a marketplace where customers must literally be bought, one at a time, and where mass merchandising utterly ceases to exist. It is a world, in short, where borders -- political, economic, and technological -- simply disappear.

Desire for Authentic Unique Goods On the Rise

Considering the book and review are a decade old, it is interesting how both now seem quite prescient in describing our current condition.  A point made in the book that to me is yet more poignant today, one that carries a lesson and offers a path for visual artists in this most difficult time is this: In an age where nearly everything is mass produced there will be a very strong yearning for products that are authentic. You may feel it yourself. Sites like Etsy, EBSQArt and The Artful Home and publications such as NEET Magazine all respond to this yearning. These are just a few of many serving the market as conduits between independent artists and consumers.

As a visual artist, you are in luck.

You have more control over what you produce and how. You have ways to easily stretch what you do and how you offer it. A recent segment on the Oprah program was titled Wallpaper Makes a Comeback. Hand-painted wallpaper is an example and inspiration of how you might stretch yourself and fill that need for an authentic one-of-a-kind product. Can you make wallpaper? Are their other ways to utilize your talent and training? I'm betting there are once you put your mind to what is possible.

You don't have to paint wallpaper to make authentic products. You don't have offer originals only either, although there is a movement for that notion with the painting-a-day phenomenon as one example. There are plenty of other ways to stretch yourself and find niches for your creativity.

Tap the Knowledge of Your Giclee Printer and Other Suppliers

Talk with your giclee printer, they see way more than you do. Ask what you can do to collaborate to use the technology to create reproductions of your original that are each unique in some demonstrable way. Consider everything including substrates, sizes, colors and graphic wraps, etc. Challenge yourself to think of what you can do. Test your theories about what you would never do. There are certain to be things among them that upon second review might just offer a new opportunity.

You Don't Have Make Your Own Canvas To Be Authentic

Authentic doesn't mean it has to be made from scratch. If you bake a pie with pumpkin filling you scrape from the pumpkin and use a store bought crust, is it enough to say made from scratch? Or would a purist say you had to grow the pumpkin, wheat and sugar cane to make it authentic? You already know the answer.

The point is consumers have become fickle and not inclined to buy stuff right now as the dismal Christmas retail season bears witness. What they are inclined to buy are things that offer meaning to them in their lives and that bear the mark of authenticity. Your challenge is to find ways to connect your images to your audience, to provide them with work that goes beyond decor. Work that resonates with them so they want to live with it in their home. That mission is really the same as it always has been. It's just today your focus needs to be more intense and in tune with your art buying public.

Slow Down, Produce Less, Make It Authentically Right, Charge More?

If might just be the time to make less, make what you make more pricey and more unique. Doing so could be an antidote to trying to mount a marketing scheme aimed at production run sales. In other words, just because the Chinese artists in Dafen are getting clobbered, it is still not a good time to attempt to go after their market share.

Selling Limited Edition Prints - Take a Clue from Ferrari

I have long championed against the idea of using limited editions as a marketing tool for digital fine art reproductions, aka Giclées, for a variety of reasons. If you are interested to learn why I have this position, reading these posts will tell you:

• Creating Collectible Value in Open Editions
• Cooking Ham and Limited Editions — Is it time to stop limiting editions of giclées and offset prints?
• The Double Entendre of the Artist Selling Out
• The Secondary Art Market - Bev Doolittle's Beyond Negotiations Sold Out & The Lunacy of Limited Edition Giclees

There are many facets to the idea of not limiting editions. In a nutshell, by artificially limiting something that can be easily, endlessly, perfectly and affordably reproduced makes the scarcity argument specious to some extent. When you see artists creating numerous limited editions of the same image, it begs the question of what is limited. Most importantly, why cap the income by limiting images that might otherwise potentially sell well for decades? It can, in the long term, be a very costly proposition for the entire distribution chain including artists, publishers, galleries, dealers and printers.

Having forcibly made that argument for many years, I find no dichotomy in saying there can be a place for limited editions. An example would be a small run of 100-150 prints offered only in one size and one substrate. This is, of course, my opinion and you are free and encouraged to challenge it hear.

The Early to Rise newsletter which, amongst its onslaught of marketing for its wide variety of "how-to" courses, occasionally offers real gems of insight and inspiration. Such was the case with its recent email newsletter titled, Why Scarcity Triggers Sales. 

Before you jump to a conclusion on the strength of the title that it champions the idea of limited edition giclées, read this portion of the article:

I think verisimilitude - the appearance of truth - is the key to making scarcity work for your business. E-books don’t have it. You can say you’ll sell only 500 copies of your e-book, but there’s no "appearance of truth" in that. An e-book is just bits and bytes, so why would it be truly limited? I’ve seen some marketers use scarcity ploys that had me wondering if they really expected their customers to believe what they were saying. If your customers question your credibility… you’re done for.  

Yes, I agree giclée in nearly all cases will have more intrinsic value than ebooks are are far more complicated to create. But, today's informed consumers know they are digital artifacts made with bits and bytes, and as such making the argument for them being scarce is difficult at best. At the end of the day, I believe those predisposed to buy giclées are willing to purchase the work at fair prices based on purely on they want to live with it and enjoy it in their homes or businesses and the fact a piece is limited would be far down the list on their criteria for buying.

Still, Yanik Silver's ETR article offers an intriguing idea. In talking about the $600,000 Enzo, which is rarest of rare Ferraris, and which also is admittedly a very long stretch to digital prints. Silver points out the vehicles are strictly limited to a very small number (399) which automatically makes them rare. By only offering the cars to those buyers with a history of owning 3 or more Ferraris, it creates an exclusive club of potential buyers. Those who have the means and love Ferraris undoubtedly and eagerly lined up to be chosen to purchase an Enzo.

The suggestion here is to create a truly limited low number edition of a desirable piece not previously offered in print. Make the requirement that in order to have a chance to purchase the limited edition a buyer would have to have previously purchased three other pieces from your line. Many successful print artists have established collector societies that offer perks to loyal customers. A well executed plan around this idea just might be the start of something like that for your career.

I'm not going to make this post a tome with all kinds of suggestions on how to implement the idea. It's merely a suggestion for your consider how you might incorporate such a successful concept into your marketing. I realize with multiple distribution channels such as galleries, online sites, shows, direct sales and your own e-commerce efforts, it will be a challenge. But, I nevertheless believe if you are intrigued and motivated by the idea, you'll find a great creative way to make use of it.

Art Is What You Make It

There is no argument we are cursed to live in interesting times. Events of the past few weeks have made things too interesting by far for most of us. Let's hope the last minute maneuvering to save the US economy works. Too bad most of us are clueless as to how this happened.

On a wing and a prayer our economy flies now

We all understand home prices jumped to unheard heights when the interest rate was dropped down to record lows and stayed there for the longest time. In a nutshell, supposedly smart people who should have cared and known better turned out to be average people with above average greed.

Homeowners were sucked in along the way as many succumbed to the Pied Piper's tune telling them prices would not go down and they could use the equity in their home like a free ATM machine. It was a glorious party, but now the hangover and reality have set in with a monstrous financial headache. It's not that simple, but the essence is there and applies to the highest gilt-edged boardrooms as well as modest two bedroom bungalows.

Can these really be the best of times?

Now, if you are not so depressed about the undoing of our national financial underpinnings, you might be wondering how you can sell some art. I have been saying in workshops, consulting sessions and private conversations for some time that these interesting times are arguably the best of times for visual artists. How so you say? Simply, there are more ways to create your art and more ways to get your art to market than any previous time.

You are not relegated to choosing between oil and acrylics and paper or canvas. You might be start your creative process with the Nikon D90 DX 12.3MP Digital SLR Camerafor digital photography to capture an image and manipulate it in Photoshop. Or to perhaps learn exciting techniques for making digital imagery in Painter. If you choose the latter, you'd be wise to partake of the tremendous knowledge from Masters such as Marilyn Sholin. You might be digitally painting on the fabulous Wacom Cintiq 21UX 21.3" Tablet with Interactive Pen. 

Are you working in convergence media?

If you are doing these things, I think you are creating something I call convergence media. Like mixed media, the term it borrows the name from, it requires pulling together in unique fashion an artistic vision using a variety of techniques, tools and products to create the final image. Then again, you may be putting paint on canvas as always and just using technology to do image capture to print giclees. And, there is certainly nothing wrong with that.

Just a few short years ago, you would have been doing none of this. Nor would you have a blog, or an online presence with your own Website, not mention the many worthy sites that will help you market your work. In short, right now, you have more opportunity to control how your art is made and more unique ways to find collectors than before.

These are the best of times to release all your creativity

If you have a spirit of adventure and a streak of creativity, you ought to be thinking of how you can use this new technology to create new ways to make and display your art. Why do vehicle graphics have to always be a movable billboard. Why can't they also be a piece of movable art? Do you have the resources, vision and chutzpah to graphic wrap something larger than a Hertz bus? Challenge yourself to go beyond your traditional thinking. How can you use your creativity to create something unique memorable and fantastic? If you rise to the challenge and answer that question and succeed with your vision, you are certain to have your ticket punched for the fast lane to awareness for yourself and your art.

Maybe your vision, budget or stomach for adventure is more mundane. Why not think about using wood, mylar, plastic or other substrates to create art. Here's an idea; you could work with a custom furniture maker to create art that is part of the furniture! The only limit is your imagination being throttled by yourself.

Below is an example of how Dutch photographer Suseela Gorter is using technology to create new ways to have her work displayed and appreciated.

Blooming Window Art - Flat Flowers Stickers (GALLERY)

(TREND HUNTER) These Flat Flowers stickers are the work of Dutch photographer Suseela Gorter. Flat flowers are photographs of flowers in a vase printed on a clear and static material. You simply stick the Flat Flowers… [More]

Start your own creative wheel turning. Let your mind wander. Daydreaming is essential to creative thinking. Write things down as you think of them. Use The Brain to capture and connect your thoughts. You have the capacity to do something unique. If you challenge yourself and respond, good things are bound to ensue.

Making Art & Money in the Digital World - Meet Me in Atlanta

I'm honored to be giving a presentation titled Making Art & Money in the Digital World at the Digital Arts Studio in Atlanta next month. The company is an industry leading premier digital printmaker. The talk is slated for Wednesday, August 13 at 6:30 pm at company headquarters. The address is: 1082 Huff Rd NW, Atlanta, Georgia  Phone: 404-352-9779 Toll-free: 866-352-9779. Space is limited. RSVP via email by August 8.

Here is a synopsis:

Any artist wishing to improve their business will benefit from attending. In a fast-paced hour, you will discover new perspectives on art marketing for visual artists and photographers. Q & A to follow.

Tips on marketing, advertising, publicity, blogging, Web sites, social marketing and gallery alternatives will be provided. Artists will learn unique ways to market themselves and about attributes shared by successful artists. An extensive resource list will be included with the presentation handout.

The presentation will shed light on the rapid changes in traditional art print market and what it means to visual artists and photographers. You will gain insight to help decide to self-publish, seek a publisher or do both. The talk will include the attributes on every art publisher's dream artist list and the merits and pitfalls of both self-publishing and working with a publisher.

A discussion will be provided on how visual artists and photographers can use the print market and digital printing to:

•    Grow awareness for themselves and their art
•    Increase sales
•    Diversify their price points and consumer mix

I'm looking forward to it and promise to do my best to make it fun, informative and worth your time!  

Wired Art Marketing Idea

About a year ago, Wired, a leading tech publication, offered its readers, anyone actually, the chance to create their own personalized cover, like the one pictured here, in a promotion sponsored by Xerox.

Good Ideas Never Go Away

Then as now, I thought it was a great idea. But, I put it away in lieu of other blog post concepts. It's stayed with me and I present it to you today as a way to stimulate your own thoughts on how you might think of creative ways to interact with your collectors and prospects.

The promotion was done as a creative way to show off the Xerox XMPie™ product line, which it had acquired in 2006. Specifically, it allows users to implement its Image Personalization tool to create the personalized headline and illustrate the versatility and ease-of-use of the program. I'm not sure what the price is for the program. It doesn't say on the product's Website. For those of you who own Adobe Creative Suite 2 or 3, you can download a free 30 day trial.

Employ Creative Borrowing to Invent Your Personalized Promotion Ideas

What's more important than the technology to readers of this blog is the concept behind the use of the technology. That is, borrowing on the concept to help you use whatever means, technology or otherwise, available to you, get in gear to think how to personalize your art for your collectors is what is important.

Giclées Are Just One Way to Personalize

The giclée process with its variable size capabilities is just one way you can personalize art for your collectors. I think this alone is underutilized as a way to truly serve customers' specific needs. Substrates are another way to personalize your work. New products are frequently being announced. These are but two examples of how technology can be used to personalize art. Can you imagine collectors willing to pay a nice premium for something personalized for them? I can.

Personalizing on a Small Scale Is an Advantage

If you are able to use the XMPie program to let your collectors and prospects have fun with your art and create a personalized printable product like the one pictured here, wouldn't that be way cool? How much good will, promotion and publcity you can generate with an ideal like this? In the right hands, the possibilities offer great promise on multiple levels.

Dont' Sweat the Small Stuff

Don't stress if you lack the tools or budget to use this program. The idea behind how to reach and influence your customers is the important thing. With a bit of creativity, you can come up with your own unique ways to get personal with those important to your career.