Below are links to press releases from Bold Star Communications and Barney Davey
- How to Profit from the Art Print Market: Practical Advice for Visual Artists – get PDF
- Visual Artists Finding the Art Print Market Profitable – get PDF
- Art Print Marketing Workshops Announced – get PDF
- Newsletter Questions Limiting Fine Art Giclee Prints – get PDF
- Chinese Assembly Line Oil Paintings Create Concerns – get PDF
- New How To Price Art Prints e-Book Benefits Arts Education – get PDF
- Announcing new book, How to Profit from the Art Print Market. 2nd Edition – get PDF
- WordPress Video Training Tutorials Released - Learn How to Setup WordPress - get PDF
Visual Artists Finding the Art Print Market Profitable
PRLog (Press Release) – Aug 06, 2011 – “It was the best of times; it was the worst of times.” — Charles Dickens
In today’s challenging art market, visual artists understandably experience anxiety about making a living as full-time artist. Nevertheless, despite the challenges, there are artists who are making these the best of times. They have discovered there are new, profitable opportunities to successfully market fine art reproductions of their original work.
How to Profit from the Art Print Market 2nd Edition
Barney Davey, author of How to Profit from the Art Print Market, 2nd Edition says, “Examine the careers of successful artists today and you will find compelling art that resonates with collectors, marketing know-how and desire translated in action are always present.” According to Davey, visual artists who organize and execute workable plans around achievable goals are the ones who enjoy the greatest success today.
The convergence of print-on-demand technology, affordable e-commerce solutions, rise of importance of social media marketing, and changing consumer buying habits, have wreaked havoc on the old-style of marketing art through galleries and dealers. Additionally, a stark economy has created a void as it forced record numbers of companies from the market.
Without question, visual artists seeking to get their work to market find conditions daunting and difficult. The reality is it was never an easy task to grow a successful career in the art market. Now as older methods of selling one’s work traditionally through galleries continue to lose luster, new effective distribution channels have sprung up to fill the void and efficiently replace them.
Due to evolution in the art market, advances in e-commerce and digital printing technology, visual artists now have the power to completely control how their fine art digital giclée print reproductions are produced and marketed. They can use this power to capitalize on art-career marketing opportunities in ways unknown to previous generations of visual artists.
Since 1988, Barney Davey has helped thousands of visual artists gain the art print knowledge they need to succeed through his book, workshops, webinars and highly trafficked and respected http://www.ArtPrintIssues.com business blog for artists.
While he still sees some opportunity for artists in traditional markets, Davey believes visual artists must use available technology to be self-sufficient and sell as much art as possible direct to collectors. He considers this the best way for artists to secure their future.
As a way to help visual artists learn how they can thrive in today’s market, Davey is making a combination offer of his How to Profit from the Art Print Market, 2nd Edition book, which has been a bestseller the Amazon.com “Business of Art” category since 2005, and his popular two-hour webinar, “Art Print Career Opportunities:
Visual artists can order both at a 30% discount off the regular price. Order instructions and details of the included valuable giclée print market bonuses are available at http://www.barneydavey.com/
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Art Print Marketing Workshops Announced
Given the multitude of benefits to artists who succeed in the print market, it is surprising to find scant information about it in the surfeit of art business books. Equally confounding is no workshops aimed at helping artists understand how they can use the print market to further their careers have been available until now.
PRWEB) February 3, 2006 — Art marketing veteran, Barney Davey, author of How to Profit from the Art Print Market, announces upcoming workshops to be presented in cooperation with Artist Career Training and BRIO Fine Arts. His book is available through these organizations and on Amazon.com.
The A.C.T. workshops are tele-classes open to anyone anywhere with a phone. This is a continuation of the same successful series presented in 2005. Registrants can expect to learn how success in the print market can help them:
·Attract more attention to their work;
·Grow their audience and diversify their price points;
·Pace demand for their originals;
·Create a steady source of secondary income from their originals
·Gain easier access to the lucrative ancillary licensing market.
The 3-part TeleSeries “Profit from the Art Print Market – A Virtual Tour for Visual Artists” will be presented on 3 consecutive Tuesdays at 7:00 p.m. EST on March 14th, 21st and 28th, 2006. Fees for Members of A.C.T. are $99.00 and $129.00 for guests. Registration includes a 25-page workbook; shipping and handling. Register online at: www.artistcareertraining.com.
A.C.T. operates as a virtual university, delivering expert art marketing and career advice and tools to prospering fine artists all over the world. Artists who are successful in the art business get consistent exposure to their work in multiple distribution channels. More importantly, they do not solely rely on sales of original work for income.
BRIO Fine Arts will present a live workshop in a 2-day program on Friday, April 7 and Saturday, April 8 from 10am – 2pm each day in Scottsdale, AZ. The “Mastering the Print Market.” live workshop will be by Barney Davey. It is designed to help artists learn:
·To decide to self-publish or seek a publisher;
·How to form an accurate assessment of available publishing resources;
·How to shortcut success in the print market and avoid common pitfalls;
·Shared traits are of successful print artists;
·Licensing images for more than 2-D art;
·How to find and approach publishers
BRIO is one of the top independent art schools in the Southwest. It offers hundreds of classes to students of all abilities from professional to beginner and children. This marketing workshop is for anyone who wants to discover if creating prints from originals is right for them.
The “Mastering the Print Market” workshop includes a copy of Barney Davey’s book, “How to Profit from the Art Print Market. Call 480-941-8310 to register or for more information. Register online at www.briofinearts.com.
Newsletter Questions Limiting Fine Art Giclee Prints
Visual artists who market reproductions of their original art in limited editions do so to create higher prices. Ironically, the income they lose by limiting editions of their most popular images can overshadow initial higher prices.
Scottsdale, AZ (PRWEB) August 17, 2005 — The August issue of Art Print Issues, a newsletter reporting on the print business, questions the practice of using limited editions as a marketing strategy for sales of fine art digital prints, commonly known as gicl�es. It argues more artists have greater chances of selling a few images in large numbers than a large number of sold out limited edition prints.
While demand is artificially created by numerically limiting edition sizes, it comes at the cost of sales from images with potential to sell well for years. Income lost by capping sales of proven images can be substantial even for artists who manage to sell out editions. Imagine selling thousands of gicl�es over many years rather than a few hundred in the typical edition. The difference in lifetime earnings to an artist can be dramatic.
None of the other arts, including films, recordings and theater intentionally limit sales of their work. Limiting gicl�es sales is a flawed marketing practice partly borne from tradition. Older fine art printing techniques such as serigraphs and etchings are limited by high production costs or by printing plates degrading with use. Gicl�es, which can be pristinely reproduced forever, are solely limited for marketing purposes to create demand.
Sophisticated art buyers realize digital printing poses no limitations on gicl�e edition sizes. Since the primary buying motivation is the desire to own the work for buyers, selling at a fair price for open edition gicl�es can be achieved. With open editions, artists avoid time-consuming and differing compliance for Certificates of Authenticity required by various state regulations. Those regulations were enacted to combat art fraud centered on limited editions that open editions avoid.
A suggestion is for visual artists to use a pencil signed and numbered convention to add cachet and demonstrate they touched and approved the image post printing, rather than to certify limited availability. Lower numbers appeal to early adopters, while larger numbers offer comfort to buyers who seek popular prints. The challenge is to move away from the crutch of limited editions as a marketing tool and find new exciting ways to market open edition gicl�es.
Barney Davey edits Art Print Issues and authored, How to Profit from the Art Print Market: A Practical Guide for Visual Artists. Subscriptions are free and archived issues can be downloaded at: www.ArtPrintIssues.com
Chinese Assembly Line Oil Paintings Create Concerns
“China’s ability to turn what has long been an individual craft into a mass production industry may affect small-scale artists from Rome’s Spanish Steps to the sidewalks along Santa Monica’s beach in California, as well as many galleries and art colonies in between.” Keith Bradsher, New York Times
Scottsdale, AZ (PRWEB) November 13, 2005 — Concerns by artists groups in the U.S. over the authenticity and originality of some oil paintings imported from China are growing. Art Print Issues, a digital newsletter reporting on the art print market, addresses the state of affairs in its November issue. These oil paintings are created using assembly line techniques where individual artists specialize in backgrounds, faces and so forth. A recent article in the New York Times reporting on the impact of imported Chinese oil paintings by its China business correspondent, Keith Bradsher underscores the seriousness of the situation.
While high profile industries such as software and entertainment have had an ongoing front-page battle over piracy issues with products being illegally manufactured in China, the decorative art and wall decor industry has not been immune to knock-offs. Nor is the growing threat less serious to them. For years, art publishers who produce fine art prints, art posters and giclées have sought to keep illegal copies from importers of flat oil paintings out of the tradeshows where they compete. Due to banding together to form the Art Copyright Coalition and to more vigorous individual defense of their intellectual property rights, publishers have had limited success in keeping copies of their work being displayed at shows.
According to a new item on his Website, Thomas Arvid, a popular and successful print artist who specializes in painting wine, had knock-off works removed from the booths of offending companies at the combined Decor Expo and Artexpo Atlanta shows in September. Arvid also made news when, with the help of the U.S. Marshall’s office, he seized 146 counterfeit pieces of his work from a gallery in the resort town of Lake Geneva, Wisconsin. A visitor to the gallery tipped off Arvid’s office. The pieces, apparently produced in China, were selling for prices of $20 -$60. Arvid’s fine art prints typically sell between $1,000 and $2,000. His originals sell for more than $60,000.
Read the full story on the impact of Chinese oils at: www.ArtPrintIssues.com where the current issue, archives and free subscriptions are available. Barney Davey publishes Art Print Issues and he is the author of a 280-page book titled, How to Profit from the Art Print Market. Davey is a frequent speaker and leads workshops for artists groups on art marketing. He wrote the book and publishes the newsletter to fill the void in the lack of practical information for visual artists on the art print market.
How to Profit from the Art Print Market: Practical Advice for Visual Artists
Increased reward and recognition result for artists who succeed in the print market. Yet, despite the abundance of art marketing books, advice detailing how artists can benefit from the print market is scarce. A new book fills the void in art print marketing information for visual artists.
Scottsdale, AZ (PRWEB) July 11, 2005 — A new book, How to Profit from the Art Print Market, provides insights on the intricacies of the print market. It examines how visual artists can benefit by diversifying their portfolios with prints. Examples include increased income, greater prominence and a broadened collector base. There are crucial questions all artists entering the print market must ask. This book answers them with authoritative advice.
Art industry veteran Barney Davey authored the book to fill the void in the paucity of art print marketing information. In researching for his workshops on the subject, he found many art-marketing books lack in-depth print marketing information. Davey has been advising print artists and publishers on marketing, advertising, tradeshow and publicity strategies since 1988. He also publishes Art Print Issues, a newsletter reporting on all aspects of art prints.
The book provides clear guidance for choosing between self-publishing and working with publishers. It outlines how to build a successful print market career for both choices. Topics covered include establishing goals, assessing resources, the economics and marketing of self-publishing, the shared traits of model self-published artists, finding and working with publishers, identifying trends, Website and email marketing, licensing and more. Artists will find the Resources section invaluable.
Top print publishing and licensing artist, Ralph Burch, has this to say about How to Profit from the Art Print Market, “I wish I had this book when I started in the art print business. It would have saved me time, money and frustration. For artists considering the print market, it is essential reading.”
ISBN: 0-9769607-0-2 280-pages
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