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Originally Posted by Michele Rushworth
It sounds like you found the ad campaign to have been worthwhile. Can you tell me where you advertised and what seemed to work best?
It also sounds like you're saying that an artist has to keep at it, always advertising, never letting up, in order to keep things going. Have you found that to be the case, or did those initial successes lead to enough high profile work that it was all the jump start you needed and became self sustaining after that?
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I often ponder those ads, (which were in
Southern Accents and
Veranda.) I did secure commissions, as a result, from heavy hitters in New Orleans, Tampa, Shreveport, Nashville, Chattanooga, Dallas, Washington D.C., New York City, Martha's Vineyard and other less notable locations...however the cost of running such a campaign was so staggering that my profits were not as substantial as one might hope...but as a woman trying to enter a male dominated field, I felt I had no choice.
Southern Accents was the most succesful venue for me. Indeed the ads along with a flurry of awards and articles in
American Artistt magazine
The Artist Magazine served to bring my work into view of many clients. Unfortunately, the costs of such ads have increased to such an extent that they are no longer a viable option for me.
I do still receive commissions, through word of mouth from past portrait commissions that I received from the ads.
I think the most important advertising is to secure high profile portraits (like the one you painted of the Governor!) and then make sure to put lots of press releases out about it. Then you will be seen as "bona-fide" in the eyes of collectors...and competitors. Your own response to that sort of success must be swift...that is why I suggested you use the Governor's portrait as a segway to higher fees, to let clients know that as you move UP so too will your fees.
Joy Thomas
www.portraitartist.com/thomas