Marketing Our Art During the Financial Meltdown, Part 3; Two New Paintings and a Drawing

Who’s Your Buyer and how do you get your work in front of them? We’re pretty much all going to have to be lean and mean in promoting our art. It’s called “targeted marketing”. Which means knowing who your buyer is.

When I went through the process of creating my marketing plan with a counselor from our local Small Business Development Administration (SBDC) office, the first homework I was given was to pretend that my buyer was sitting in a chair across from me and then describe them. Beyond the general question of who buys original art, who do you think will be interested in YOUR art? In my case, we somewhat humorously pegged my target buyers as “rich celebrity environmentalists”.

More realistically, it’s someone with a certain income level and probable interests in nature, environmental issues, travel and the outdoors. If you request advertising rate cards from a national magazine, they usually include demographic information on who their readers are to demonstrate the kind of eyeballs you can expect to view your ad. You can create the same kind of thing yourself to help decide where it makes the most sense to put your efforts.

I was talking about marketing approaches with an established artist at a wildlife art festival a few years ago. My specific question was where to look for galleries. His advice was to try place my work in locations where there were people “needing” to furnish second and third (!) homes. I’ve got to say, living in a county where the average income is $38,000 a year, that thought truly hadn’t crossed my mind.

Use the Internet- The world’s going digital. The US Postmaster just asked Congress for permission to cut the number of mail delivery days in the future because they are losing so much money. One reason is email and other types of online communication. I know that there are a lot of technophobic artists out there, but you’ve somehow got to suck it up and check it out, if for no other reason that using the internet takes time, but next to no money. At this point everyone pretty much knows that you have to have a website, same as you need a phone.

But when you bring up blogs, Facebook, Twitter, etc. the reaction usually seems to be a cri de coeur that there aren’t enough hours in the day as it is. My objection was that I couldn’t imagine that anyone would care what I had for breakfast (homemade muesli with berries from our garden, usually), so why should I take the time to do a blog. But……..when I evaluated it in terms of my marketing plan and learned how easy they are to do and that, unlike the website, I can update it myself at will in a far more dynamic way, I decided to give it a try. I approached signing on to Facebook the same way. An unexpected fringe benefit is the pleasant, informal contact with artists all over the country and the world.

Twitter I’m not sold on yet, but I monitor it with the idea that it will probably be just the thing at some point.

I encourage you to set aside an evening and check out Google’s Blogspot and also WordPress, which is what I use. Blogspot is probably easier to get started with, WordPress is more sophisticated in how it does things. You can register on both Facebook and Twitter, then just lurk around and see what you think. None of this is permanent. You don’t have to tell anyone. You can register and then cancel if you want. Be aware though that Twitter currently makes it very difficult to sign up again if you close your account.

Let me know if you start a blog or get on Facebook. I’ll be interested to hear what you think.

TWO NEW SMALL PAINTINGS

Hereford Study  oil  8"x10"
Hereford Study oil 8"x10"

I originally started this as a demo for my painting class and thought it would be fun to finish it. I also have a commission that involves Herefords, so it’s doing double duty.

Afternoon Light, Pismo Beach oil 10"x8"
Afternoon Light, Pismo Beach oil 10"x8"

I did this one yesterday in a couple of hours. Sometimes it’s fun just to smoosh the paint around.

And, finally, a drawing of some grouse that I photographed in Mongolia. Not sure of the species yet.

Sand grouse, Wolff's carbon pencil on drawing paper
Sand grouse, Wolff's carbon pencil on drawing paper

I really like the work of Mark Eberhard, who has a background in graphic design and uses it to great effect in his paintings. When I saw the image I shot of what was a good-sized flock, I was struck by the pure design possibilities. To be continued…..

An Interview and Hereford sketches

I recently received an email from an art student in Northern Ireland (wonders of the internet!), who is doing a paper about an artist whose work she likes for her “A Levels”. That artist would appear to be me. I liked her questions since they got me thinking some more about what I do, why and how. So I thought I would share it with you:

1. Why did you choose animal art?
As I think about it, it might be more appropriate to say that it chose me. I drew animals more than anything else as a child by far. When I was back in art school at age 35, I tended to think of using animals for my assignments. When I moved to “easel painting”, I started doing animals early on and when I learned about the field of wildlife art, that pretty much sealed the deal. I do enjoy other subjects, but it has always been my animals that have drawn the strongest response from people.

2. How would you gather information for your topic (ie do you study the body movements of animals, go to the zoo etc)
I do fieldwork trips every year to see animals in their own habitats and also visit zoos whenever possible. I have a large reference library that includes a number of books on animal anatomy. I sketch from live animals when I can and take a lot of photos. My digital image library has over 10,000 animal pictures alone, taken since 2004. Plus hundreds of prints from before I went digital.

3. Have you ever been influenced by a person or place?
Yes, I seem to be the kind of artist who is inspired more by what I see in the natural world, as opposed to a more purely internal vision. Taking a master class from John Seerey-Lester in 1997 was probably the greatest single reason I’ve become an animal artist because of his encouraging words about my paintings, which made me believe that I could succeed  if I  was willing to work hard.

The four places that I find most inspiring are Mongolia, Kenya, the Yellowstone/Wyoming/Montana area and my own home ground of northern California.

4. Is there a particular artist whose work has inspired you?
If I had to name one, it would be Bob Kuhn, a legendary illustrator who became one of the two or three top wildlife artists of the 20th century. I’m inspired by the quality of his draftsmanship, design/composition, his painterly technique, his knowledge of his subjects and his uncompromising willingness to do what it took to get reference he needed. He’s my role model for everything a wildlife/nature artist should be. He passed away last year.

5. What media do you prefer working in and why? Is there a medium you are not comfortable with?
I work in oil. The original impetus was having wanted to paint in oil since I was a child, but now it’s because it’s the medium that most lets me express my vision of a subject. I love everything about it except the fumes, so I pay attention to proper ventilation.

I’m probably least comfortable with something like pastels, for the very pedestrian reason that I don’t like having my hands messy while I work and I don’t want to wear gloves.

6. My favourite piece of your work is ‘Double check’, how did you come up with the idea and how did you gather photographs etc to help you?
Ah, I just delivered that painting to the buyer. It’s one of my favorites ,too. I hadn’t done a coyote for a long time and I have some great reference of them that I shot over a couple of trips to Yellowstone and the Grand Tetons. I was looking for an image that would work at a small size and had interesting light. I also look for an aspect that represents something authentic about the animal and what they are like, both as a species and as an individual. The painting used two pieces of reference, one of the coyote and one for the background. So I already had the reference for that one.

Double CheckDouble Check    oil       10″x8″

7. When did you realise your talent for art and why in your opinion is animal art so effective?
I can’t remember a time when I didn’t draw.  I don’t know how much talent I have, but I’ve been willing to work hard for a long time. I’ve been told that my animals have “life” in their eyes and I agree, but that seems to happen without conscious volition on my part, so maybe that’s my “talent”.

Human affinity for animal images goes back to the Stone Age, as can be seen by cave paintings and pictographs. We have literally shared our lives with them for over 10,000 years (in the case of dogs). We share our world with them. Every culture has some relationship to animals, mostly positive, sometimes negative, but a connection nonetheless. We see ourselves reflected in them. We project ourselves and our emotions, ideas about good and bad, and our needs onto them. Images of animals and our liking of them are one facet of that long history.

8. Do you have any future plans for your art?
To continue to grow as an artist and get better. To always look for new ways to more accurately express my vision. To use my art to promote conservation and environmental issues, while making a decent living.

9. What do you think is unique about your art?
My vision and point of view and how I express that stylistically. Which really is, or should be, true for any other artist, no matter what their subject matter or medium.

10. Where do you paint and do you find the environment you work in important?
I have a 450 sq. ft. studio at my home. I have worked in a variety of environments, including a garage, and would have to say, that, yes, it’s important. I need an organized, properly lit space. I need the work space to not get in the way of doing the work.

11. When it comes to doing the fur on the animals, what do you find to be the fastest but most effective way for this?
I don’t personally think that speed, per se, is the goal. First comes the decision about what your vision is and then, what is the most technically appropriate way to accomplish that? Having said that, however, I have no interest in detail for it’s own sake. I would find painting every hair boring to do and usually find it boring to look at. What challenges me is seeing how much I can simplify and leave out and still communicate something like “fur”. So, I don’t literally think “fur” when I’m painting. I’m thinking shape, value, color, color temperature, visual texture, etc., which is a more abstract level. If all those come together then that area will say “fur” even though it’s really just blobs or spots or strokes of paint.

12. Is the background as important as the animal itself?
I would answer that somewhat indirectly by saying that the idea of the painting is the most important and every element present must support that idea, whether it’s the animal or the background. It all has to come together as a coherent whole.

13. What scale would your art normally be and how long would it take you to complete?
The smallest paintings I do are 6″x8″ and, so far, the largest is around 36″x48″, plus a variety of sizes in between. I decide on the subject first and then choose the size and proportion that will best suit the idea I have.

I can finish a small painting to be used as a study in a couple of hours. “How long does it take?” is a question artists get all the time and the answer is usually some variation on “It depends.” It depends on how complex the composition is, how much preliminary work was necessary, how many changes were required along the way, whether one got stuck and had to let the thing sit for a week, a month, a year.

14. Were you hoping to strike any emotions from your audience? if so what?
I think that part of what defines something as “art” is whether or not it elicits an emotional response in the viewer. So, yes, I guess I always hope for that. But I’m really more concerned with recording my emotional response to my subject than trying to project or control that of the viewer.

15. Which is you favourite piece of your own work and why?
Whatever the latest one is that came out the way I’d envisioned it. Currently it’s the Cape Buffalo Head Study. It may be the best painting I’ve done so far and I did it as demo over the course of about six hours at an art festival with constant interruptions. Interesting, in view of my earlier comment about my preferred working environment and that I hadn’t envisioned anything in particular about it except to have something going to draw people into my booth.

16. Is there anything that motivates you whilst painting?
The thought that somewhere, sometime, someone viewing my work might be inspired to become actively involved in working to save our planet. It needs all the help it can get.

May all our interviews be so merry and bright.

NEW COMMISSION

My most faithful collector and I have had a list of paintings that she would like me to do. Since she grew up on a cattle ranch in Southern California, she wants a painting of an oak tree with polled Hereford cattle, plus a few other elements. So this is where my illustration training kicks in. I find this kind of thing fun if, once the content is decided on, I am left to solve the problem and paint it as I see fit. I have now started the sketches. I haven’t drawn cattle much, so that was the first step. Here’s a few that are promising-

Hereford cow and calf
Hereford cow and calf
Young Herefords
Young Herefords

ART QUOTE OF THE DAY

“You do not have to go very far to find suitable subjects. The cat lounging on your sofa, the horse down the road, yours or your neighbor’s dog; all are proper subjects and all will give knowledge which can later be broadened by trips to the nearest zoo or museum. My old friend and counselor, Paul Bransom, was the man who first urged me to go to the zoo, and to draw, draw, draw, Even the best reference sources don not take the place of real knowledge of animal structure. That can only be gained by putting your time in with the animals.”

Bob Kuhn