Percentages, framing, promotional materials, etc.

[Melanie Peter]

Hi Artists,
Gradually I'm getting my work noticed. A new framing gallery in town, with high-end art, not production art, is representing my portraits. Another gallery in Tallahassee has contacted me for portraits, landscapes, nudes.

I've had gallery representation for 25 years in Leesburg, but they really didn't sell much. My gallery in Sarasota has slowly sold a few landscapes.

The new one charges 40%. The other new one charges 25% - this one is a go-getter, high energy, art-pusher. The 25% gallery would like (but doesn't insist) that I reduce my prices to reflect their lower percentage. But I want to have the same prices across the board in every gallery, even if they are 200 miles apart. Should I lower prices at the first gallery or stick to the higher prices for all? (I think I know the answer.)

Another question is about framing galleries. The one in Leesburg, and now this one, want to put my portrait examples in their frames. (Can't blame them; I frame as cheaply as possible.) I did buy their $150 (wholesale) frame so they could display my work in their choice of frame. (That's about 10 times what I normally spend on frames.) But in the future, how do I deal with framing galleries who want to show my work in their frames, and how do I know if their "wholesale" cost is really wholesale without insulting and challenging them by asking for the invoice? And how do I diplomatically say, well that's a nice choice, but let's put it in a $75 frame instead, when they are really trying to show off my work and theirs to best advantage.

Any other advice regarding gallery percentages, pricing, framing, etc. will be most welcome.

I'm a graphic artist, so I'm creating portfolios, resumes, and whatever else these galleries might need to promote me. Not sure, however, what is best to send them. Any advice on this?

Thanks in advance!
Melanie Peter

[Michele Rushworth]

Most galleries charge 40%. If one of your galleries charges less your ultimate retail sales prices should still be the same everywhere, for everyone, even for work you sell privately by yourself. That's pretty much rule number one for artists working with galleries.

I feel that if a "framing gallery" wants your piece to be shown in one of their frames that they should pay for the frame. If not, then the frame you put it in should at least be of high quality and not detract from the piece.

[Melanie Peter]

Thanks Michelle,
I guess I'll have to talk to them, gulp, about them buying the frames in the future. Other framing galleries have told me in the past that they have no use for the unique frames they select for my artwork, so they don't want to 'own' them. Also they have said that if I own the frames I can take work out of the gallery for other shows, but would not want me cruching and banging the frame around the state if it belongs to them.

I saw a critique of someone's brochure a while back. I'll upload low-res images of inside and outside of my brochure for general impression. You won't be able to read it, but I guess tell me what you think overall?

Especially what do you think of my use of the word "Unconventional?."
Is that a euphemism for snooty? I just want to say that my portraits aren't all alike, not all photographic. Or at least try to appeal to people who might want something less like a photograph. Hmmm.

All that dense copy is:
About the Artist
Recent Awards
Artists Statement
About the Portrait Procedure
About Pastels
Caring for your pastel painting

Welcome to any comments!
Melanie

[Michele Rushworth]

I think you should do your own framing, but frame the pieces VERY nicely. Also, paint to standard sizes so you can use your frames again if need be. Check out www.jfmenterprises.net but be aware that the shipping may cost you as much as the frames themselves.

On the brochure I have two suggestions: Far fewer words. More images. Hardly anyone will read all that stuff.

You need lots of large images that show full portraits, not cropped in tightly as you've shown. Also I'd get rid of the green shapes. They don't add anything, in my opinion.

Also, I don't think that Unconventional describes your portraits at all. That word is better suited to Odd Nerdrum or Lucian Freud.

[Melanie Peter]

Hi Michelle,
I think you're right. I can forego the word Unconventional. I guess defining as Unconventional isn't necessary. I'll just paint the way I paint. Either they like my work for what it is or they don't. I guess it should speak for itself.

I thought the cropped images have more impact than full portrait images. When I put lots of portraits on the brochure it looks like a busy catalog. I picked up some brochures at the art show last weekend. Too many images are as bad as too many words. I agree they won't read all that info. But maybe just two larger portrait images inside?

I'll work on that. Ok, no green shapes. It looks naked and stark on plain white to me. Maybe I'll work on getting the portrait images and typestyle to compensate for the naked white. I'll let you know how it turns out.

I used to buy JFM frames when I had a tax number. I found quarterly returns and record-keeping unbearably troublesome and gave up my tax number, so JFM won't sell to me any more. But I can find frames elsewhere.

Thanks for your suggestions.
_Melanie

[Melanie Peter]

Hi Michelle,
Here's the new look for the brochure. I put all the wordiness (About Pastels, and About the Portrait Procedure) on separate inserts that can fold into the main brochure. I also made a separate price insert. I bought gold paper clips to hold it all together. Better?
-Melanie

[Michele Rushworth]

Much better!

[Linda Brandon]

Hi Melanie,

I'd make two seperate brochures, one for portraits and one for landscapes. People can pick up whichever one appeals to them, or both.

I think there's a desire to 'pigeonhole' an artist, particularly when you're talking about commissioned work. A buyer wants to have a reasonable idea about the kind of style he/she can expect from you without any surprises. This is just my humble opinion here.