Print Pricing Made Easy

How do I price my prints? That has got to be the Number One question I get when talking to artists and photographers about entering the print market. For this article, I will concentrate on the simplest method for calculating resale pricing on your prints. That method is Multiplied Print Cost.

1. Artists and photographers just starting to sell prints of their work usually make one of two mistakes: pricing too high for their market or pricing too low and not making a profit. You have to find that happy medium. (Did I hear you say, “Duh?”)

2. The easiest method to calculate your print price is to figure out how much the print cost you to produce, and then multiply that number by four to get your retail price. For example, if you are selling an unframed, un-matted 16x20 print on Somerset Velvet paper, and the print cost you $47 to produce, your retail price would be $188. This pricing system works well if you are selling through a gallery that takes a 50% commission. After the gallery takes its $94, you are left with $94. Out of that you subtract your print cost of $47 and end up with $47 in profit.

3. If you are not selling in galleries or shows that charge a commission, then you have a little more leeway. Try multiplying print cost times three – in the case of the above-mentioned 16x20, your retail price would be $141. When you subtract out your cost of $47, you are left with a profit of $94. In this case, you can play around with the numbers to see what “feels” right. If $141 seems too high for your customer base, try multiplying by 2.5, for a retail price of $118, etc.

4. Another common mistake is forgetting to add in all the costs when figuring out your prices. If you have matted and framed your print, then you have to add that into your total cost. If you spent $100 framing your $47 print, then you have to make $147 to break even. If you are selling through a gallery, and they are taking 50%, then you have to at least double the cost of the framing ($200) and then add that to your print cost x 4 ($188). You won’t make money on the frame, but you won’t lose, either, and your profit will be the same as in #1. Some artists tack on a “framing fee” to the original framing cost. Even if you are just poly-bagging the print, you have to add that cost into the “cost to produce the print.”

5. When you are first starting out, it is better to sell for as low as you can and still make a profit. One way to do that is to reduce the cost of the print. The example above was for a single giclée print on Somerset Velvet paper, which costs $47 through our custom service.  If you order at least 4 of the same image/size, your cost goes down to $37.50 each.  Or consider going with a more economical  paper. The same print on Decor Textured paper would be $38 if ordering one, or $30.50 each if ordering four. Or, if you want to order one at a time and lower your single print cost, use our Express service.

See, it is not too difficult. Like most things in the art world, there are no hard and fast rules, no “magic bullet” for success. As I mentioned, if you are just starting out with prints, you will probably want to start as low as you can and still make a profit. If you are not selling through galleries, then you can even just double your print cost to start out. It is easier to raise prices if prints are flying off your shelves than to lower them if they are just languishing. And if this method doesn’t work for you, there are plenty of other formulas for pricing out there. This just happens to be one that I think is easy – and works for me.

Here’s a bonus tip:When establishing the price, try to keep it under the “barrier” numbers. So instead of $50, sell for $49. Instead of $100, sell for $98. Strangely, once you’ve broken a barrier, you can go higher. For instance, if someone is willing to pay $125 for something, they’d probably not blink at $149. Study pricing in retail stores and you’ll see what I mean.

OK, one more tip.
Sell in “package deals.” A photographer I know sells matted 5x7 prints at shows. One matted 5x7 is $39. If you buy two, you get them both for $59. But if you buy three, you get them all for $65. Guess what he sells most of? Yep, three prints.

Kate Dardine has been helping photographers and artists market their prints for over 25 years. She is currently Marketing Director at Fine Print Imaging, as well as a professional artist selling original paintings and prints. Need one on one advice?  Call 970-484-9650 or email info@fineprintimaging.com to learn about our marketing consultation service.

Can You Embellish on That?

In the world of giclée printing – most notably canvas giclée printing - embellishing is the hot trend.

Whenever we discuss hand embellishing of prints, we get a flood of questions, like:

• Should you embellish your giclées?
• What choices are there for embellishing?
• What products can be used?
• How does embellishing affect archival quality of the print?
• What the heck IS embellishing, anyway?

Webster’s dictionary defines embellish as:
1. To make beautiful by ornamentation: adorn.
2. To add fanciful details to. 

As applied to fine art paper and canvas giclées, embellishment refers to painting over areas of the print to enhance color and/or adding brush strokes to the finished print. The following list of do’s and don’ts for embellishing your giclée prints should shed some light on the subject. 

the tools you need for adding brushstrokes

1. We do not recommend embellishing fine art paper giclées with watercolor paint. Although our giclée prints on fine art paper are water resistant, the inks can be lifted with water and a brush. Instead, if you want to punch up a color, use a colored pencil (Berol Prismacolor work well,) or use a pastel pencil. Pastel pencils tend to have a duller finish than colored pencils. If you simply MUST embellish using water based paints, use the smallest abound of water needed to achieve the effect you want. In any case, use a light touch at first and experiment on your proof until you get the effect you are looking for.
2. Fine Print canvas giclées come to you sprayed with a protective coating, allowing you to paint on top with acrylic or oil paints. If using acrylic paints, mix a bit of gloss gel medium to the acrylic paint to provide a sheen that will match that of the canvas finish. Do not spray or varnish over the canvas after you have painted on top of it. Your finish may not be compatible with ours. How much or how little embellishing you do is entirely up to you.
3. You can also add texture to your canvas giclées by adding brush strokes with Liquitex gel medium (make sure you get the kind that dries transparent), brushes made for acrylic paint and water (for thinning). You can apply it pretty thick if you want – we applied areas up to about 1/8” thick and, although they took 24 hours to dry, they did dry transparently. If you want to embellish for color and add brush strokes, add the acrylic paint first, then the gel medium after the paint has dried thoroughly.
4. You can add brush strokes to giclée prints on watercolor paper. However, we do not coat the watercolor paper, and adding the gel medium will noticeably alter the density – in other words, your print will appear much darker/punchier after applying gel medium. For this reason, we do not recommend adding texture to giclée prints on watercolor paper.
5. We recommend that you stretch or mount your canvas giclée before adding texture or embellishing. 

  

adding brushstrokes to a canvas print

As always, you can call and talk to one of our specialists to get more information. 800-777-1141. 



Kate Dardine has been helping artists and photographers market their work for over 26 years.  She is also a professional artist and our staff embellisher. You can see her paintings at www.KateDardine.com.

Trends in the Art World

by Tonya Aspegren, Fine Print Marketing Maven

"The Good Wife" set

What comes around, goes around. Trends are part of our culture. Everything comes full circle, maybe just to see if it ever went out of style in the first place! We love them, we hate them. They are part of our fashion, our decorating, our way of thinking. Sometimes a color scheme, a hairstyle, or a fashion makes its way into your consciousness. What do you do with that information?

In the last year, we’ve noticed a trend in botanicals. We’ve seen it on the walls of TV series such as "The Good Wife" and "Madam Secretary", as well as the cover of Professional Framing Magazine and the pages of Pottery Barn catalogs. Fine Print even had a mention in the magazine This Old House as the printer who could produce vintage botanical prints on high quality art paper!

As an artist, you want to continue your own style and originality. You likely have a collection of similar works. As trends come and go, you don’t want to abandon what you do for something that may be gone tomorrow. However, if you are tuned into the current trends, you may be able to grab onto a color that may be attracting the eyes of a buyer or a motif that fits your painting style.

There is nothing wrong with noticing the trends around you even if you don’t want to jump on the bandwagon. If you notice a trend in more contemporary, streamlined styles, you may choose to go with a simple, less decorative frame. If you notice a color scheme that is standing out, you may want to showcase a painting that complements those colors.

What trends have you been tuned into lately?

Creative Journey - Part Five: Visual Journaling

A funny thing happens when you allow yourself to just experiment and have fun. You try new things, you take chances. Sure you end up with some pretty hideous stuff. Who cares? Because you will also end up with some gems. Maybe a new color combination. Maybe a new brush stroke. Or maybe you’ll discover using your fingers or a rag or letting paint drip.

Try starting out every session in your studio with 15 minutes of visual journaling. Or try it when you are feeling blocked. Just like writing in a journal, visual journaling will help unlock the doors and windows to your creativity and your artistic voice.

Imagine you are about four years old, wearing your smock and standing in front of an easel, contemplating the big white piece of paper that beckons you to dip your brush in tempera paint and make a mark!

The paper is your world, it can be anything! Perhaps without conscious thought, you choose a color, and with a flourish of your arm (dripping paint on the floor) you stroke a bold line across the paper. Another dip of the brush, perhaps into a different color, and another confident mark. Dots, lines, thick strokes, thin – a flower! a bird! a whirling kaleidoscope of colors cover the paper. You step back. You are finished with this painting. You are proud of your accomplishment. You ask for a new piece of paper and begin again.

Invite your four-year old self to paint. No judgments, no pre-conceived notions, no goals (other than to have fun). Go ahead, make mud!

Kate Dardine
Marketing Consultant

The Creative Journey - Part Four

The interesting thing about finding one’s artistic voice is this – its not really lost. Perhaps hidden (did you look behind the milk?) or misplaced (I have no idea why I put the car keys in the silverware drawer!) or put away (you know, in that place where it'll be safe.) But not lost.

Your artistic voice is not something that you have to buy and it’s not something that someone can teach you. Although the right materials and techniques play into communicating your voice effectively, the thing that makes your paintings uniquely yours is something that grows inside you like a seed, informed by your life experiences, shaped by your temperament, nourished by your soul. It is a passion for something, a unique way of seeing that is entirely your own perspective. Your artistic voice is something you are born with.

I believe all people are born with this kernel of self-truth within them, but as we become self-aware, the kernel is hidden by layers and layers of self-protection, encrusted in doubts, fears and the distractions of living. Only those of us who are artists – whether we are visual artists, writers, dancers, actors or musicians - have this compulsion to peal back the layers to find that pearl of universal truth that we carry inside. When we’ve found that truth, if we can communicate it, others will resonate with it.

So one leg of the journey to “finding one’s artistic voice” is the journey within, to find what it is we passionately want to communicate to the world. How do we discover this? One way is writing in a journal. In her book, “The Artist’s Way,” Julia Cameron encourages readers to write three pages in a journal everyday for twelve weeks in order to break creative blocks. In this journal you write about anything, everything and sometimes nothing. I had a couple of days where I truly wrote about nothing, as in “I have nothing to say today. I am unmotivated to write. This is stupid…” The funny thing is, about 1-1/2 pages of writing Nothing, Something would just about write itself on the pages, usually something I had no idea in my conscious mind that I was thinking about.

Reading and doing the writing exercises in a book called “Writing the Artist Statement,” by Ariane Goodwin is another way to home in on what you truly want to say with your art. Coming up with a succinct, meaningful and personal artist statement is a crucial piece of the Artistic Voice puzzle. There is nothing like having to “reveal the true spirit of your work” to get you to focus on what that spirit really is. For me, writing my artist statement not only helped me describe my work to others, but, more importantly, it gave me a focus. A-ha! This is what my work is about. This is what I’m trying to communicate.

In Part Five, I’ll talk about the other leg of the journey to finding one’s artistic voice – visual journaling to find the outward expression of the inner passion.

Kate Dardine
Marketing Consultant

The Art of the Give Away - by Kate Dardine

Reciprocity. Webster’s Dictionary defines the word as “a mutual exchange of privileges.” In this article, it refers to the act of giving something in order to get something in return – specifically, to give away something in your art show booth, at your gallery show, or from your website – in order to receive something – a sale!

Glenn and Cherie McBride, of Yellowbird Studio in Texas, report on some findings from their own five year “survey” of marketing techniques:
No sales could be traced to business card handouts!
Few sales were generated directly by brochures.
Few sales were generated directly by magazine advertising
Few (almost no) sales were generated by newspaper advertising.
But ...
They have received an incredible rate-of-return from give-a-ways - direct and from other customers. (We picked up this technique from the publisher of our book, Mark Victor Hansen in LA.)

They have high sales during face-to-face interactions (such as at Outdoor Art Festivals and Art Expo).

There is a psychology to the free giveaway: when someone has gotten a “gift” from you, they feel, perhaps subconsciously, that they need to give something back, and that is most likely to be in the form of a purchase.

There are a few ways to handle the free giveaway. One is to give something free with a purchase. It is the “Buy Two Get One Free” approach. You can try it with small matted prints such as 4x6 prints matted to 8x10.

Another way is to have a candy jar out in your booth, and bottles of cold water (especially on a hot day!) If you have a customer in your booth, offer the water. Two things will likely happen: The customer will linger longer and…find something to purchase!

A third way is to have them DO something to get something for free. Like sign up on your mailing list to receive your free e-letter. Or sign up on your mailing list to get into a drawing for a print or a small painting. (I have found that the latter is the most likely to get people to sign my mailing list.) This option works in your booth as well as on your website.

G. Brad Lewis, a photographer and long-time Fine Print customer from Hawaii has been practicing the art of reciprocity for many years. His habit is to slip in a free matted 5x7 when a customer purchases a large print from him.

Whether you choose one of the techniques I’ve listed or have a trick or two of your own, “give something and get something in return” works. Not with every customer, every time, but enough that it will make a difference in your sales.