Beyond The Ribbon: Adventures Beyond Equine Collectibles Part 2

Introduction

Welcome back to this two–part series on expanding your studio beyond the equine collectibles market. It's important to think about such things not only because there are other applications for your talent that deserve attention, but diversifying your studio can help stabilize your finances when the economy fluctuates. There's a lot to consider, but it's all very exciting and full of potential.

So let's explore more ideas!

More Ideas

Learn how to approach a gallery. Getting your work into galleries isn’t about just showing up and talking up your work. Nope. It takes preparation and some know–how. First, find a gallery that fits your work. Does it showcase other works similar in nature to yours? Is it reputable and long–established? What’s its standing in the arts community? Do you like the quality of the work exhibited there? If so, then second, make a appointment with the manager. Never just drop in and demand time. Third, come with your professional portfolio, dressed and behaving the part. It’s a good idea to also have your portfolio on a disc, or offer a "leave–behind" portfolio to leave with the manager for them to peruse again later. You should also have some work in hand (at home) that’s reflected in the portfolio to immediately provide the gallery with work if the manager decides to take you on. Don’t give them a portfolio without having an inventory on hand to fill their request. 

Then let the manager explore your portfolio and answer any questions or concerns they might have, succinctly and in a friendly manner. Demonstrate that you’re a sound investment of their time and floor space. Sit tall, smile, and be confident—you do good work so don’t be so intimidated! Talk up your work discreetly—don’t become a blowhard by any means. Then when the manager has finished, say your good–byes and leave. Don’t take up more time with lengthy discussion or explanations since they have busy lives caring for the gallery. As with all professional portfolios, all your contact information should be in there. However, if you don’t offer a "leave–behind" or disc portfolio, provide them with a business card so they can contact you. If they do, reply immediately.  

Fill all gallery requests on time with pristine, new work. Help to set it up if they ask, and help to clean up afterwards. Once you’ve been accepted, it’s important to foster that relationship enthusiastically. Ask to put the gallery on your promotional materials to funnel people back to it, and advertise the gallery in all future ads. Inform collectors that specific works are available from the gallery, and have them buy them from there rather than from you. Don’t use the prestige of being in the gallery as a boost only to circumvent or shortchange them—make them an integral part of your sales and experience. (Tip: If you’ve privately sold a work that’s also represented in the gallery, or if a buyer learned of your work because of the gallery, send the gallery the normal percentage to foster the relationship. Remember, without their standing and advertising, you may not have sold that work in the first place.) 

Part of fostering that relationship also includes giving your gallery exclusives with work and debuts of showcased pieces. This heightens the gallery’s standing and the manager appreciates the extra consideration. Go to all receptions of your work and behave professionally and cheerfully—this helps to promote both your work and the gallery. 

Also, understand that the gallery will take a percentage of the sale. Don’t try to barter or negotiate the percentage—it is what it is. They’re doing their part to represent you and your work plus they’re giving your work valuable public floorspace, so don’t try to haggle them over their hard work and resources. 

Above all, remember that once your work is in a gallery, it’s no longer about just you anymore. What you do and say in public will also reflect on the gallery, so don’t engage in any behavior that would compromise their standing (or yours for that matter). The more professional and welcoming you are to everyone, the more grateful the gallery will be since you won’t be a liability to them. (More pointers are in the recommended Resources at the end of this post.)

Don’t get involved with “flame wars.” Don’t start them, don’t participate in them. Moving “beyond the ribbon” also means you should move beyond the pettiness that can underscore any community, and the arts community is no different. Indeed, it definitely has its “strong” personalities that can cause friction, sometimes routinely. Plus some people simply thrive on confrontation and anger. Avoid them. All flame wars do is to rile your emotions and drain precious energy that’s better spent in the studio. Flame wars also reflect badly on you, and one wrong sentence or unpleasant tone can cost you a customer. 

Now if you’re the target, learn to deal with such situations professionally and coolly. Often the best recourse is to just ignore it and take the high road. If necessary, however, learn to defend your work with composure and biological or logistical facts. And remember that a fact isn't the same as an opinion.

Think about the tone of your studio. You can explore different venues at once, but it’s a good idea to design a system that manages this scenario well. We can work in the model horse world and the art world at the same time, but keep the model horse aspect out of our art focus. How?

One tactic is tone. When you start framing all your original work as art, you're already ahead. Another tactic is to only feature your own work. That means you can showcase your new sculptures, but not the paint jobs done by other artists on your sculptures. Likewise, it's not a good idea to feature your paintwork on other artist's sculptures. Keep it all 100% your own work. A third tactic is to adopt professional standards across the board so you don't have one way of behaving in one venue and another in the other. When we talk and walk the same everywhere, not only does that dampen confusion, but it bolsters consistency and reliability.

Think about how people and professionals will perceive you and your work based off of what you put out there for them to see. And remember that new people are becoming interested every day, so each occurrence is a first impression. That means everything we put out there really is a first impression, so be mindful of tone with all your dealings.

Now it is possible to set up two different websites and online presences: one for the art world and one for the equine collectibles world. However, when your name is searched for, it'll come up equally between the two despite this separation. So it's better to tailor your online presence to the art world to increase your potential in the greater markets out there.

Consider forming a collector club for your work. The effectiveness of this strategy is proven everyday in the professional world such as with Harley–Davidson® motorcycles to Wee Forest Folk® figurines. Do field research to determine which of your product lines would benefit most by this idea as well as how to set up an appealing and functional club. 

A collector club is a terrific means to build a client base. Special offers and perks should be available to your club members, even the privilege of advance purchase before an official release. Above all, treat your club members well because they are your regular customers!

Have promotional materials on hand. Brochures, business cards, postcards, tags, stickers, etc., are all important selling tools. They should all look professional, be professionally printed (don't print them on your computer), be consistent to your branding, and be included with all your sale items. And think about portraying one or more examples of your work on the materials since equine art is a visual experience.

Also, think about including a "thank you" note with all sold orders. This is a nice show of gratitude for a sale that could easily have gone to another artist. It can either be on a card, or on a postcard of your design. 

And always take some promotional materials wherever you go because you never know when an opportunity will present itself. Having all your “ducks in a row” during a serendipitous moment is an excellent first impression!  

Appeal to different price niches. Don’t corner yourself by catering to only one price bracket. Not everyone can afford a $7,000 bronze, but more can afford a $70 plaque or a $7 magnet. Also consider offering impulse buys, small items priced about $5–$25. The more accessible your work is, the more chance you have of a sale and a potential repeat customer. Different price niches also stabilize your sales during unstable economic times.

Pricing is no small matter, however, and it can have some odd quirks and complications. Some people sometimes even determine their purchase almost entirely on the perceived value, not on whether they like it. There are plenty of folks, too, who are buying gifts, and they constitute a significant portion of your sales, especially around the holidays. Therefore, pricing your work demands solid field research to identify the scope of the issues. 

And learn how to sell your work through all the different methods out there, too. Indeed, knowing how to sell your work well can have a big impact on your sales. 

Streamline production. You may need to adopt a factory approach for certain product lines, so simplify their production even if modification of the designs is necessary. In particular, “fiddly” production methods for volume items are a sure way into the poor house. Instead, keep intense work limited to specialty sales or exclusive works. Remember you only have two assets: your skill and your time. Squandering the latter to express the former is only creating an inevitable financial trap for yourself. 

Unfortunately, many artists fall in this pothole because they don’t understand that when it comes to your work (especially trinkets and most gift items), the public really doesn’t care how long it took you to create. Their overriding motivations are if they like it, if the value is good, if it’s a quality piece (Is the art work good? Will it last a long time?), and if it’s immediately available. So analyze your work habits and time management because maximizing them will help you maintain the quality and inventory of these items while also addressing access and affordability. 

Adopt flexible payment methods. Customers like choices in payment, so don’t disenfranchise potential clients with limited options. In fact, your business can be stunted if you don’t accept certain forms of payment.

Consider opening a merchant account to process credit cards, with a minimum of accepting MasterCard® and Visa®. Expanding that merchant account to accept Discover®, American Express®, or debit accounts may also be necessary. However, you must comply with the new PCI standards and regulations in order to individually process credit cards. These standards are rigorous and typically beyond the resources of a small art business, so ask about them when you investigate processing credit cards.

Open a Paypal® business account since that form of payment is ubiquitous with online transactions. Also consider Square®, Apple Pay®, and Paypal with their POS gizmos that attach to your iPhone, and are particularly beneficial for art fair, farmer's markets, or similar types of sales. Cash, checks, cashier’s checks and money orders may be accepted, too, but require extra caution.

While you can offer payment plans for your more expensive items, there are caveats to this practice. Is the additional office work and meticulous record keeping really the best use of your limited resources? You’ll have to “police” the payments, too, possibly creating an antagonistic relationship between you and your buyer. What if something goes wrong? It’s you, the business, who’ll be expected to accommodate or sacrifice when a problem occurs. Because of these issues, time payments may not always be a good choice, even though they might help edge a sale along. In reality, time payments are a risk on your part—you’re gambling the buyer will complete the sale as per the conditions, and a lot can happen between the sale and the due time payment.

Another financial issue with time payments: it doesn’t matter how much something sold for—if it takes months or years to get that sale price into your bank, you’re actually losing money. For example, if you sell a $3,000 bronze on payment terms over a year, without interest, that’s only $250 a month. How will that affect your ability to operate or expand? Now factor in the additional time and energy to keep track of those payments and the additional customer relations, and it quickly becomes an equation of diminishing returns. Also, if you don’t charge interest, you’re losing that in your bank. If you do charge interest, that opens up a legal ramifications because you aren’t an insured or licensed financial institution.

Furthermore, many sellers of high–end art run credit checks in a dedicated financial department—do you have that layer of protection? In fact, if you look at many conventional sellers, they don’t offer payment plans—they expect you to use legitimate conduits such as a credit card. This brings us to the primary problem with private time payments—you aren’t an insured, licensed financial institution, which means you’re putting both yourself and your customer at risk if you attempt to operate like one. Get advice from a good specialized lawyer or accountant, and from experienced artists who offer payment plans before initiating one yourself. 

Streamline sales. Adopt efficient online sales methods such as cart systems and automated checkout. Your shipping can be sped up, too, since these systems are sometimes linked, which is an important customer service feature. These things can be included on your website or blog, too, to may buying easy and quick.

Furthermore, develop a solid inventory system so you always know what you have on hand. This could mean assigning item numbers to product lines and organizing you storage room to accommodate.

Pay attention to detail. The “glamour side” of your work is only half the equation. Masterful craftsmanship throughout the piece is the essential other half because it speaks to your dedication. Indeed, it can spell the difference between a sale or slump.

Why? Because sophisticated buyers will inspect your work for thorough quality and attentive craftsmanship before they decide to purchase. In fact, the more experienced, serious, and savvy the collector, the more they'll demand thorough quality and polish. Therefore, every piece that bears your signature must be impeccable in all aspects, even on those sides that aren’t on display.  

For example, a glass artist regularly displays at an annual Christmas bazaar here in Boise. Yet she consistently fails to sell as well as the other featured glass artists. This is because while her work may look great from across the room, her finishing touches are absent upon closer inspection:

• Her attached magnets, hooks, and findings are messy with glue showing, crooked alignments, imprecise fit, etc. 
• Her slump glass pieces have uneven, ragged edges, often with scratches and chips marring the surface.
• There's no signature on the pieces that would authenticate them being handmade by an artist.
• The designs are impractical. Jewelry is too heavy, dishes are too small, bowls are unstable, and magnets are too small and weak for their intended use.

In contrast, another glass artist in Boise sells very well at her annual Christmas sale. Why? Simple—her work is properly finished and designed well:

• Her findings are impeccably applied, fitted perfectly, centered correctly, and devoid of messy glue application. The findings are high quality, too.
• The glass surfaces are spotless and the edges are rounded, even, smooth, and unmarred.
• Functional items such as magnets, dishes, and bowls are practical, sturdy, and stable. 
• Her work can be inspected from all sides and no detail has been overlooked, hurried, or fudged. The designs perform well according to the function they were intended because she created with the craft in mind first and the novelty second. [Note: This is the baseline for true mastery of an art form and customers recognize it far more than many artists realize.]

Have a ready inventory. The public knows they have other choices and won't wait for you if your stock is unpredictable. Yet maintaining a ready inventory is no small feat! To this end, design a work schedule that dedicates enough time to keep your inventory full. And you'll have to think about where you'll store your inventory, which is, frankly, intimidating all by itself! Nonetheless, pay attention to your sales patterns, too, since some items may sell out faster than others.

Know your position on commissions. While some artists thrive on commission work, others faceplant. Artist—know yourself! Unless you blossom within the relatively oppressive commission relationship, it’s probably better to avoid it entirely. While there’s no right or wrong in accepting commissions, there's great wrong when you’re not honest with yourself and operate contrary to your creative drives. You’ll only end up hurting yourself and your customer relations. Don't engage in a business relationship that’s doomed from the start.

What many artists fail to recognize is that commission work really is a trade–off that demands rare traits found in a creative mind. For example, a successful commission relationship demands:

• Exceptional time and resource management.
• A payment or deposit plan.
• Impeccable record–keeping skills.
• Meeting the customer’s deadlines no matter the personal sacrifice to you.
• Working even if you're completely uninspired.
• A solid legal contract that protects all involved parties fairly.
• The ability to issue an immediate full refund at a moment’s notice.
• Exceptional communication skills with the customer at all times, including infinite patience when an excited customer inundates you with incessant questions, changes, commentary regarding the order, or just life in general.
• Absolute focus on the commission until completion, even when more enticing work is tempting.
• Acceptance of below–market value for your work, which is one of the trade–offs for a guaranteed buyer. 
• Acceptance of profiteering from the resale of the commissioned work by the customer, which is another trade–off.
• You must accept creativity based on someone else’s prerogatives, not yours. This also means you must subjugate your opinions to those of the buyer even if you know your opinions would produce a better piece. By extension, you must apply your signature to something you may consider inferior work. 

However, commission work can be lucrative and helpful in establishing a career and creating a reliable client base. Having a group of guaranteed buyers isn’t something most artists can boast!

Be Honest with The World. You’re the only Captain at your helm. Be sure those with whom you do business understand this, in order to manage their expectations. It also means you must plan your projects and obligations accordingly—don’t bite off more you can chew. Broken promises and excuses are a sure way towards diminishing opportunities.

Think about packaging. How your pieces are showcased together as a group (like at a booth) and individually (“takeaway” packaging) is important. Your display packaging should be professional and polished, and there are many online resources to learn more on this subject. 

Packaging is about attracting the eye and holding it since the body follows the eye. When your work is competing against a sea of other items, effective packaging can mean all the difference. Planning your packaging requires field study, so do your homework and visit stores, expos, art shows, farmer's markets, and art festivals. Above all, be creative with packaging, especially with your giftware and collectibles. [Resources offers some links to get you started.]

“Takeaway” packaging should have your branding, include your contact information (especially your website), and any information about the piece that’s succinct and appropriate. Also, don’t be afraid to print “Made in the USA,” or “Made in [your state],” because this may be a buying (or gift–giving) incentive. Hangtags can be attached to items, while pins or magnets can be attached to a backing, or popped into a gift box. Ornaments, plaques, or medallions can be placed in gift boxes (which can be custom made) while beads, buttons, and pendants can be placed in pretty drawstring bags. Self–sealing cellphane bags with a business card or sticker on the bag are also a fantastic and easy packaging option. Indeed, many creative options exist, so do your research and field study.

If you plan to sell through local stores, consider creating a ready–made display for the store owner to pop onto the counter top. This makes it easy for the store owner to display your work, easy for the customer to find it, and easy for you to control your image. You can buy them ready–made, construct your own, or have them custom–made by specialty companies. Your display should look professional, be “public–proof,” and be easy for the store owner to maintain. It also should be compact and consistent to the store owner's specifications. Tend your displays, keeping them stocked and rotated–out so the store owner doesn’t regret losing valuable space to your product. Be creative, too, because a distinctive display is a great way to advertise! 

Rethink categorization. Train yourself to think in terms of collectible themes or categories rather than colors, scales, or breeds. Likewise, design your work in cohesive “buildable” product lines to provide collectors with a goal they can enjoy within a context, which speaks directly to the heart of a collector.  

Another strategy is using a special title (rather than a description) that relates to the narrative, inspiration, or emotion embodied within the work. For example, naming a sleepy–eyed Draft plaque “Break Time” rather than generic “Drafter,” or "Clydesdale." Titles place the work into a context that buyers connect with emotionally, amplifying the meaning of your work. Indeed, some of your collectibles may do well not only with individual names, but also with fictional histories that create a unique identity much like the Cabbage Patch Kids®. 

Also consider branding a product line according to a specific theme such as a line of bas–relief plaques titled, “Emotion in Motion,” which depict different expressions of that theme as a cohesive collection. This tactic allows collectors to build their collections in a structured way while offering you the options to explore this theme with different interpretations.

Adopt creative selling tactics. Consider the buying process from the customer’s point of view. It cannot be denied that creating a treasured collection is an exciting proposition for collectors as a kind of labor–of–love and treasure hunt combined. To that end, spice it up for them! For example, create a collection as an ongoing narrative, from beginning to end, coming out with a new serial installment periodically. Provide teasers and talk about the process and the insider information with each installment. This way you include your collectors on your journey and enrich the experience for them. Similarly, think about special holiday or seasonal pieces to inaugurate these events which collectors often enjoy.

ACEO (Art Cards, Editions, and Originals) cards are very popular, too, so consider how to infuse that level of collectibility in your studio, if possible.

Rethink exposure. Customers know exactly what they want, they just don’t know where to find it! This means being pro–active in your marketing strategies. Unfortunately, neither art school nor the equine collectibles market tend to teach essential business skills, so it’s up to you to learn and utilize them.

But it means you can’t rely on your website for establishing yourself. You have to get out there and beat the pavement! Build up your inventory and get yourself and your materials prepared, then jump into the fray! Enter art exhibitions, art events, and art shows. Start networking. Perhaps donate to high profile art sales or art auctions to gain exposure. Place ads in relevant art publications. Consider having booths at popular art and craft shows or seasonal bazaars. And don't forget your farmer's market! Or apply to become an Artist in Residence. Think about partnering with larger entities that tie into to your work, too, to piggyback on their exposure. There are artist co–ops and local stores, for example. Join an Open Studio circuit in your area to welcome interested folks into your creative world. Hold studio sales, which can be particularly fun around the holidays. Galleries are a useful venue as well, but remember your work must sell enough to offset the commission. Catalogs can be a viable option, but only if you can provide the volume they require. Also, keep your options open for design licensing bought by production companies which can be a lucrative and exciting option for you. And consider setting up online stores such as Etsy®, artsefest®, Artfire®, Bonanza®, eCrater®, Zibbet®, or CraftMall®. They offer pinpointed exposure with relatively little investment. In particular, these online stores are great for chachkis and giftware. Or think about opening an Amazon® store if you can maintain a ready inventory. 

Think about placing ads on Google® and other large search engines to get your website in front of more people by listing it more aggressively in searches and directories of similar subjects. Fees are often relatively inexpensive, usually paid per click (given you aren't getting thousands or millions of clicks!) and the exposure is tremendous. 

If needed, it can’t hurt to hire an artist consultant to gain inroads into sales and career development. If someone’s expertise can open closed doors for you, hiring them is a solid investment.

Boiled down, the first step with sales is exposure, so take action! You literally cannot afford to sit on your laurels and wait for the buyer to find you.

Be Cautious with Donations. Many artists know the world is quick to seek out those artists who offer donations. If you do, you'll quickly find yourself inundated with solicitations. This can be beneficial if you’re careful, but it also can become an imposition or economically detrimental if it gets out of hand. So do your homework first to ensure reputable venues and equitable conditions for your donations. 

Perhaps most significant is how the public perceives a donation because the implication is that you can afford to give away your work. Do this enough times and you may begin to have problems with sales and a customer base. Proceed with caution.

Donative items should be done within a business strategy in mind and not just out of an emotional response. You cannot afford to give away your work to every beckoning cause, so pick them very carefully based on how they can benefit you, too. Yes, providing a donation can be great exposure, but once you have that exposure, it’s time to step back and reevaluate your priorities.

Rethink shipping methods. Your time is far too valuable to be driving around town and waiting in line to ship a package. Streamlined and timely shipping is an integral part of a smart business plan, so take it seriously.

Think about setting up online shipping accounts with the USPS®, FedEx®, and UPS®. The preprinted labels are more professional and the time investment is more efficient, particularly if pickups are scheduled from your studio. 

The way your items are prepared for shipment should be done with professional style and attention to detail, all the time, so give it due consideration. 

Hone good communication. Listen to people reacting to your work and pay attention to their comments, positive and negative. There may be a gem of an insight to be found there!

Always treat people with respect and courtesy because they could be a potential customer (or know an existing customer of yours). Never talk over them, or behave arrogantly or indignantly, and don’t pretend to know more than they do. People know precisely what they like and don’t like, and they’re entitled to their opinions. Remember, it was you who placed your work in the public eye in the first place! So learn what you can from well–meant comments, and be gracious with the rest.

Reply to inquiries as promptly as possible with concise, friendly messages—don’t procrastinate. Also avoid conveying too much informality or excitability such as using exclamation points, ramblings, capital letters, slang, asterisks, etc. All messages should be free of grammatical, spelling, and punctuation errors, too, so use the “spell check” frequently.

You should also embed a signature in your emails with your name, studio name, website, and tagline (if applicable). All your posts should contain this signature because it helps your information pop up more in net searches.

Consider the venue. Tailor your strategies to the peculiarities of a venue to provide exactly what it wants. For instance, there’s little point offering Akhal–Teke pieces at a Saddlebred show, or offering realistic work to a gallery specializing in abstract pieces. Do your field research and determine which venues are the right fit for your work and your goals. Convincing a business partner that you can be a benefit is partly being able to show your art work is a complement to the existing establishment.

Consider venues other than those associated with horses, too. For example, for work depicting wild equids consider the wildlife art market (the magazine Wildlife Art® is a terrific publication for some field research). Think about partnering with Nature Conservancy® and the World Wildlife Fund® and other similar groups through donated sales, auctions, or licensing agreements for exposure. Don’t forget zoos, national parks and preserves and their gift stores either. Reputable equine rescue operations can be a good option, and a donated sale could provide valuable exposure for your work while helping their fundraising efforts. Look at the home and garden decor market, as well, because it holds many opportunities for equine art. 

Also, don’t forget to visit your local Chamber of Commerce. It can provide information on the local markets and business organizations that could provide inroads for you. Such organizations often offer classes, consultation, and networking opportunities, too.

And know how to approach potential business partners. There’s a right way and a wrong way to start up a business relationship—do your homework first (the Resources at the end of this article offers guidance). For example, you’ll need to make an appointment first, so find out who’s in charge of such matters and give them a call. However, you’ll need three things before you can meet: (1) proper preparation, (2) professional presentation, and (3) a businesslike attitude. This includes how you look and behave, how your work is presented, being informed on contractual deals and licensing, and having your portfolio and promotional materials up–to–date and on hand. You should have a leave–behind portfolio just in case as well (the Resources at the end of this article provides guidance on that concept). Bring product samples (in their packaging) for inspection and have price indexes and other cost numbers for them, including discounts for bulk orders if you offer that option. These business people have to report to someone else, remember, so provide them with the information necessary to help them make a confident decision. In short, be ready to do business immediately. 

Always keep your business partners happy! Deliver on your promises and contractual obligations on time, promote their businesses, and keep them supplied. Create ways to provide them with exclusive perks, too, such as exclusive offerings or the privilege of debuting a new piece. Providing them with a “scoop” enhances their business. It’s also customary to refer customers to venues that carry your work. Remember, when your business partners are successful, so are you! 

Lastly, retain a lawyer well–versed in art contracts and licensing law to guide you through the legal maze. The fee is a small price in comparison to an expensive misunderstanding.

Develop a “pitch.” Unlike your artist statement, this quick proposition is intended to establish a business relationship with a potential partner. Design it to quickly communicate the benefit your work will offer them if they stock it. It should be no more than three concise sentences and friendly. Tailor your pitch to each venue, since a tack store may not respond to the same pitch you gave a boutique owner.

Pay attention to trends. The market is an ever–evolving place, and so you should evolve, too. Study popular items that appear on the market and ponder ways to adapt your work to them. 

As for your work itself, track the selling performance of your product categories and price brackets (don’t forget about tracking item size and colors, too). For example, do your tiles sell better as a wall ornament, coasters, as a trivet, or as part of a set? Is there a particular color that sells best? Which sells worst? What size bronzes sell best? Does a specific subject matter have more appeal? Then try and duplicate a winning formula elsewhere in your product line. However, don't fall into habit. Keep your customer base intrigued and interested.

Moreover, pay attention to which venue is selling best for you—expos, stores, seasonal bazaars, online sales, farmer's markets, galleries, direct website sales, etc. Are specific holidays doing better, and why? Which countries are most enthusiastic for your work? Pay attention! Sales don’t happen randomly, and it’s your job to figure out the reasons and act on them.

Don’t hand out ammunition. Revealing too many personal details makes you an easy target. For example, when a person asks how long it took you to make a particular piece, what they’re really doing is math in their head to determine whether you're making “too much,” i.e. sizing up the piece’s perceived value. Not only do most of the public not understand that creating art work entails far more than what’s done per hour, but your hourly wage is no one’s business but your own. If you were working a 9–to–5 job, wouldn’t you be shocked if some stranger asked you how much you make? This is exactly what’s happening when people ask you this question. However, most folks don’t understand how offensive the question is because they’re unfamiliar with the business of art, so be patient and understanding. In response, be vague and quickly divert the discussion to another subject such as your inspiration for the piece, the creative process, or what you learned from its creation. Those people seriously interested in purchasing your work will be the least likely to ask this kind of question anyway because they understand the true nature and value of art. Remember, the alchemy of art is a mystery—keep it that way. 

Never lose your composure when rude comments are directed your way—remain calm and professional. An arsenal of pointed, but polite, rebuttals is useful such as, “Maybe my other items are more in your price range,” or calmly mention your payment plan if you offer one. Remember that everyone has an opinion, and an experienced artist can compose herself and control the situation to her advantage when they’re fired off. Never forget that you signed up for all kinds of commentary because you chose to display your work. So no matter how rude or hurtful a comment may be, you don’t have license to retaliate. In fact, doing so may hurt you in the long–run because people remember and share negative experiences far more than positive ones, and a tantrum could close door for you. 

Similarly, no matter how much you believe you’ve been publicly wronged or humiliated, never erupt in public. It's not smart to hold those around you hostage to your unprofessional and embarrassing behavior. Not only does it make you look bad, but you’ll also cut yourself off from potential opportunities. No one successful wants to associate with someone perceived as unreasonable, unprofessional, or unbalanced. While this behavior unfortunately is relatively common in the model horse world, it’s absolutely unacceptable in the professional world. Instead, learn coping skills to remain professional, diplomatic, and calm even when you want to scream and throttle someone. Indeed, being a successful artist is one–part talent, one–part business savvy, and one–part diplomacy!

Likewise, if questions or comments arise about another artist, never negatively comment, but remain positive, polite, and diplomatic. The art community is close–knit, and as Jimmy Durante wisely commented, “Be nice to people on your way up, because you're going to meet them all on your way down.” 

Another aspect that requires thought is asserting from where your skill derives, i.e. divine intervention. This isn’t to say it’s wrong to mention, and it can be a wonderful way to connect with people. However, there’s a difference between communicating this belief sensitively and beating people over the head with it. Your spiritual beliefs are personal, so treat them carefully in public with the due respect they deserve.

Above all, remember that while people want to connect with you, they can be clumsy going about it. “The Artist” label has a powerful, intimidating mystique, so be patient and kind. Gently guide the conversation to help people connect, and make yourself welcoming and accessible.

Think about long–term customer strategies. Always think in the long–term, in everything you do. For example, giftware can be introductory items for your other work. Never regard your body of work as isolated parts, but as components of a whole that work together to advance your career. Creating a catalog is like creating a restaurant menu, it does best with a balance of complementary dishes for different stages of a meal, and for different appetites. Feeding a customer base is no different!

Remind yourself that a conscientious buyer wants to collect art that has intrinsic and financial value. It should involve quality materials and craftsmanship and express your dedication, novelty, and passion. Customers also want a legitimate business relationship because they know building their collection is a long–term proposition. 

Remember “The Big Picture.” Exposure is the name of the game, and gaining that exposure will entail more aggressive tactics than those required in the model horse market. It’s not just a matter of advertising, exhibitions, high–profile auctions and events, however. Online communities and various instruction (written or leading workshops) also are good ways to start the ball rolling.  

Consider hiring an agent as an advocate for your work. They can secure, negotiate, and manage your contracts with galleries or companies, too. Agents can be hired part–time or full–time, and most part–time fees are affordable for a new business. Indeed, sometimes paying a fee is the cheapest route! Many substantial contracts have collapsed because an artist was ill–equipped to tackle the issues herself. Be honest—we artists would rather be creating our work than selling it, right? Another option is an art or marketing consultant who can be hired per diem or full–time. If you can buy opened doors with an affordable fee—pay it! Being a business means spending money to make money, so don’t be cheap at the wrong times.

Finally, remember that the business of art is business. All idealistic declarations on “art for art’s sake” aside, unless you can make a living at your art, you won’t be doing it for very long. 

Conclusion

The creative mind works best when allowed to explore new ideas freely, but tends to wither when trapped inside a tight paradigm such as “model horse.” Looking “beyond the ribbon” infuses freshness back into your equine collectibles involvement and helps to keep things in perspective, too. Smart business is smart business. This means that much of what’s been discussed here can apply within the equine collectibles industry, too. 

Yet keep in mind that exploring beyond the confines of "model horse" is a journey full of detours, roadblocks, uphill battles, and potholes. Things can go sideways. But it's also full of triumphs, happy surprises, unexpected kudos, resounding success, new discoveries, and exciting opportunities! So keep at it. You may not reach your goal the first year, but keep forging ahead and perhaps next year you will. It's a process. Whatever you do, don't give up. Don't fear failure, roll through it. And don't worry about not being good enough. Remember, there's plenty of great work failing in the market just as much as inferior work finding great success. That means if you put your all into both your artwork and your business savvy, you'll have the advantage on both ends of the equation. And—hey—if you give up, you'll have failed outright, yes? Be brave, be patient, be dedicated, be smart. And above all, be excited about your new ventures! Introducing your wonderful artwork to whole new audiences is a thrilling experience like no other, so enjoy!

Just whatever your goals, remember that you are the Captain of your own ship. Do your research and field study. Plan your strategies and be on point with your marketing and business tactics. You're essentially building your business from the ground up again—from scratch—and that takes optimism, discipline, hard work, and time. But don’t forget—if other artists can do it, so can you! Join the madcap fun and take your work beyond the ribbon. There's an adventure awaiting you out there!

So until next time...go on and beyond!

"We might as well give in to the tug of our spirits to explore this confounding and wondrous world. We might as well greet each other as endless pilgrims and bid each other well on our way. Because we're already on the road..."

~ Anthony Lawlor

Resources:

Galleries and other professional venues

How to Approach an Art Gallery with Your Paintings: http://painting.about.com/od/careerdevelopment/a/galleryrepresnt.htm

How Many Paintings Do I Need to Approach a Gallery?: http://painting.about.com/od/paintingforbeginnersfaq/f/FAQapproachgall.htm

How to Create a Body of Work and a Distinctive Style as an Artist: http://painting.about.com/od/careerdevelopment/a/MMarshall_Work.htm

How to Decide Which Galleries Are Right For You To Approach: http://www.artindustri.com/art_advice/approach.php

How To Approach The Gallery: http://www.craftcentreleeds.co.uk/howtoapproach.htm

Ideas For How to Approach a Gallery: http://www.potters.org/subject74268.htm

Roundtable: The Ins and Outs of Selling Art: Experienced Gallery Owners Discuss What They’ve Learned Over The Years About The Art Business: http://findarticles.com/p/articles/mi_m0HMU/is_1_32/ai_n9480525

The Art Of Selling Art: Gallery Owners Talk About What’s Going On, How the Market Looks Today, And What Lies Ahead-The Art Business-New Mexico’s Art Industry Review: http://findarticles.com/p/articles/mi_m5092/is_1_26/ai_82536326 

Wildlife Art Magazine: http://www.wildlifeartmag.com/

Writing an Artist Statement

How to Write an Artist's Statement by Marion Boddy-Evans: http://painting.about.com/cs/careerdevelopment/a/statementartist.htm 

Resume

Get it Right the First Time: An Intorduction to Creating your Artist Resume: http://mainearts.maine.gov/artists/resources/resume.shtml

Artist Resume: Recommended Conventions: http://www.collegeart.org/guidelines/resume.html

Writing an Art Resume or CV (cirriculum vitae): http://www.monoprints.com/info/resources/resume.html

Fonts

MyFonts: www.myfonts.com

Photography

Submitting Photos for a RESS Online Exhibition; An Educational Review and Tutorial: http://www.ress.org/files/ExhibitionImageTutorial.pdf

Your Best Foot Forward; Practical Tips for Successful Presentation in RESS Online Exhibitions: http://www.ress.org/files/YourBestFootForward.doc  

Customer Issues

How to Target Your Perfect Customer: http://www.michelfortin.com/how-to-target-your-perfect-customer/

Targeting Your Market: http://www.va-interactive.com/inbusiness/editorial/sales/ibt/target_market.html

How To Identify A Target Market And Prepare A Customer Profile: http://www.esmalloffice.com/SBR_template.cfm?DocNumber=PL12_2000.htm

How To Target The Right Customer With Contextual Marketing: http://www.business-opportunities.biz/2008/04/24/how-to-target-the-right-customer-with-contextual-marketing/

Knowing Your Customer’s Buying Motives: http://www.nfib.com/object/3740956.html

Seven Buying Motives That Can Help People Buy Into You: http://ezinearticles.com/?Seven-Buying-Motives-That-Can-Help-People-Buy-Into-You&id=1021747

To Understand Your Client, Know Their “Buying Motives”: http://www.maxsacks.com/articles/psbj12.html

Portflio Tips

http://www.coroflot.com/public/help_portfolio_tips.asp

Artist Portfolio Guidelines: http://art-support.com/portfolio.htm

Leave-Behind Portfolio: http://portfolio.wikia.com/wiki/Leave-behinds

Creating a Professional Portfolio: http://www.georgebrown.ca/saffairs/stusucc/portfolio.aspx

Creating a Professional Portfolio: Traditional, Online or Both?: http://home.earthlink.net/~workquest/articles/ottPortfolioTips.pdf.

Portfolio Guidelines: http://ww2.ramapo.edu/cahill/careerServices/documents/PORTFOLIO%20GUIDELINES.pdf

Booth design

http://www.bermangraphics.com/artshows/booth-slide.htm

http://groups.msn.com/OurArtGang/artdisplays.msnw

http://www.sunshineartist.com/0510s.html

http://jscms.jrn.columbia.edu/cns/2006-04-04/koblin-artfairs

http://www.flourish.com/

http://www.petspictured.com/wordpress/?p=57

http://www.bermangraphics.com/artshows/booth-display.htm

ACEO art cards

http://www.art-cards.org/

References:

Handmade for Profit!; Hundreds of Secrets To Success in Selling Arts & Crafts, Barbara Brabec. 2002 Revised Edition. ISBN-10: 0871319950, ISBN-13: 978-0871319951

The Ultimate Small Business Marketing Toolkit, Beth Goldstein. 2007. ISBN: 0-07-147718-7

Beyond The Ribbon: Adventures Beyond Equine Collectibles Part 2

Beyond The Ribbon: Adventures Beyond Equine Collectibles Part 1

Introduction

It’s easy for a model horse artist to forget about the possibilities and opportunities outside familiar territory, but the truth is there’s limitless potential for realistic equine art! Fine art, giftware, collectibles, beads, glass, jewelry, home accents, gardening decor, industrial installations and company contracts are just some of the viable options. Expanding the scope of your work not only offers new creative outlets, but also better financial security in an unstable economy.

Nonetheless, these larger markets can be difficult to break into successfully. The diversity of competing products, new demands, maintaining an inventory, developing a new client base, creating a legitimate resume, and other challenges aren’t easy to surmount. In many ways, a model horse artist is at disadvantage because she may lack the “real world” tools for success outside this venue, yet she has all the expectations for wild success that were so easily won in the equine collectibles market! Truly, the first steps outside the equine collectibles fishbowl can be a humbling and intimidating path.

However, success in these new venues is possible. It does require a new perspective and approach, but there’s no reason why you cannot experience the benefits of a diversified studio. For that purpose, this two–part article will touch on some basic ideas to better prepare you for starting that journey. (By the way, Part 2 has the References and Resources cited in this first post.)

So let's rock!...

The Pitfalls

Before we dive into the strategies, let’s first consider some common pitfalls you need to avoid:

1. Assuming the quality or novelty of your work is enough to sell it. In outside markets, quality is only a small part of the equation, so don’t depend on it. Instead, learn savvy marketing and networking techniques and use them with gusto. If you’re unable to initiate your own expert marketing, then hire someone who can. Get an agent or marketing professional on your side. Then learn to perceive beneficial opportunities and act on them. You'll be competing within a more diverse market, so take a hard–hitting approach! Don’t forget, plenty of well–marketed substandard work sells successfully, so there’s no reason why you couldn’t succeed with your quality pieces. 
2. Assuming because something didn't sell in the outside market, that the outside market isn't viable. It's a big world out there and there are plenty of artists making a living. Failure probably means you’re doing something wrong or are being impatient. Research and educate yourself! An artist from the equine collectibles venue has a lot of catching–up to do with professional presentation, marketing savvy, and business acumen, so attend to those deficiencies first before making assumptions.
3. Engaging in behavior or policies more appropriate for the equine collectibles venue. Never assume that the habits, expectations, and ideas from within the equine collectibles venue are transferable to the outside world. Very different expectations are out there, so make yourself aware of them and adapt.
4. Not knowing how to pro–actively build a client base. Building inroads into new markets requires aggressive tactics which need time to develop. Unlike the equine collectibles  market, sales will not be instant, even if your work is brilliant. It may take months, or even years, to develop a steady and enthusiastic collector base. Be patient, diligent, responsive, and resourceful, and be educated in how to nurture your client base. You’ll essentially be starting over, so dedicate the effort and time required to hit that threshold. 
5. Not practicing “real world” professional standards and presentation. Not having professional presentation will sabotage your efforts. Do your homework! You’re going into the world of business, remember, not venturing into a casual hobby pastime.
6. Not understanding you need to create a conventional resume. You won't be able to include any of your model horse accomplishments on a legitimate resume. You also may have to reconsider the media and type of work you discuss in order to orient your work to traditional commercial venues such as art shows, art auctions, local fairs, etc. Ideally, your name should develop some “street cred” in the outside world if you want to approach galleries or companies for contracts or partnerships. You usually can't earn these deals with only equine collectibles references unless you've already contracted with a company inside the venue.
7. Not realizing that you'll need to create a professional portfolio. You cannot include any repaints or customs, but only original work that's 100% yours. That would probably knock out a large part of anyone's body of work in this genre. That means focusing on original work for awhile may be needed to build a body of work for your new portfolio. And remember, it doesn't have to be full–body work, but bas–relief, jewelry, plaques, or anything arty you've done that fits the bill. However, galleries like to see coherency to your portfolio, a similar body of work. So don't offer them a wide variety of different types of work you do. For example, it may not be a good idea to include your abstract tiles in with your realistic sculptures. Stick to one type, and offer that. Or make several different portfolios for each type of work you do, and offer them to different galleries. So do your research and find out what it takes to create a professional portfolio suitable for submission to galleries and prospective corporate partners.

The New Map

You’ll also need a new map to guide you, using new ways of thinking and behaving as compass headings. You're venturing into brand new territory, remember, one with wholly different expectations and demands. Unless you tailor yourself to them, it's likely success won't be forthcoming. But the good news is, if you do, you hedge your bets that much better!

First, disassociate yourself from the model horse venue when interacting with those outside of it. Truth be told, there’s no better way of being ostracized than to peddle yourself as associated with the model horse venue. Additionally, avoid referencing model horse accomplishments on your resume, artist statement, or elsewhere in your materials. That doesn't mean you can't still be active in that genre, but just don't tout it outside of it. 

Why? Gallery owners, art collectors, store owners, company buyers and the like are quick to dismiss anyone associated with “toys” or “hobbies” no matter how exceptional your work may be. Remember, they have their own reputation to maintain. The fact is that plastic horse companies have distinguished their product as toys, and anything associated with them will be interpreted similarly, especially by the public (which is of keen interest to those you approach). The model horse world maintains a problematic public image, too, that no amount of spin can turn into something respectable in the professional public. So if you wish to venture “beyond the ribbon” and avoid prejudicial treatment, don’t ignore the reality, even if you don’t agree with it. How you frame yourself and present your work has a tremendous impact on your success.

There's one exception, however. If you've done contractual work for a model horse company (like sculpting for their production line), feel free to include that in your new ventures. Why? Well, it tells other potential companies that you can deliver and that you've experienced the corporate commission before, with success. It also tells galleries that your work has enough popular demand that a company actually hired you to sculpt for their line. 

Second, have realistic expectations of the world market. The insular nature of the equine collectibles economy keeps clients orbiting artists like moths to a flame. In contrast, sales in outside markets may not be as forthcoming. You also won’t be able to rely on customers to advertise through word–of–mouth or showing, a practice characteristic in the model horse world. Instead, proficiency in marketing and business strategies will play a big role in your success.

Third, know how to develop a client base (which is an art form in itself). Client bases in the model horse market are self–generating, but the distractions in outside markets can obscure your spotlight. Your first step is to identify the desires of your target market. Your second step is to pay close attention to your clients’ buying trends and to adjust accordingly. The third step is keeping them through good customer service, a cheerful, accessible, professional nature, and top quality, consistent work. All this requires observation, responsiveness, research, diligence, and patience, yet these efforts often determine whether you succeed or fail. Also, study how successful artists develop and maintain their client bases, and employ their strategies. Remember, too, that you and your client base should evolve together, so keep them interested by offering a diverse and changing catalog of work every year.

Fourth, you should always be attentive to how your present yourself. Your behavior, appearance, and social skills will have a direct impact on how you and your work are perceived. A big part of selling your art is selling yourself! People have plenty of other choices in the open market, so be sure their experience is positive when they choose you.

The Gear 

Now that you have a new map, you need gear, or the tools to forge down a new path. Let's get yo outfitted...

Think beyond “model horse.” Just because you can sculpt realistic full–body horses or paint them doesn’t mean that’s all you can do! There are many other applications of these skills, everything from Christmas ornaments to construction installations (such as tile designs for the floor or wall) to home furnishings (with busts and bas–reliefs) to garden accessories (concrete or plaster castings), many of which offer lucrative licensing agreements with companies. And look at the lovely Llandro® Arabian: Pure Breed—that piece could have so easily been sculpted by “one of our own” had we been better positioned! The equine motif is a universal one, so think big!

Use your own voice. A lot of work in the model horse industry is “borrowed,” either through painting blank bodies, customs, or other collaborative efforts. In contrast, this practice isn’t well regarded in outside markets, so refrain from presenting this type of work there. Instead, only feature your 100% original work and present your authentic, original “voice” at all times.

Mind your reference terms. When referencing yourself and your work, avoid terms such as "model horse, hobby, plastic, toy, customizer, repainter, or model horse artist"—all terms related to model horses. Instead, opt for words like “sculpture, figurine, painting, piece, art work, giftware, collectible, and studio." This includes how you reference the size of your work, so avoid using “traditional, classic, Stablemate®” etc. Instead simply provide the dimensions, or depending on some markets you can use the ratio, like 1:9 scale. And if people ask what you do, you’re an “artist, sculptor, equine artist, animal artist,” etc. not a "repainter, customizer, or model horse artist."  

Never underestimate the first impression. A good first impression is crucial, not just through your website and presentation materials, but in–person, too. Present yourself as someone worthy of investment, and be considerate and confident. This does require preparation, so are all your “ducks in a row?” “Look the part” and "act the part" and have everything you need at hand, professionally presented. Remember, when some entity considers to enlist your work, they're taking a risk. They're going out on a limb. (Yes it's true—you aren't a sure bet!) So present yourself in a way that helps to confirm their confidence.

Also, don’t imply that realism is the “ultimate” art form. The world is full of far bigger ideas than those found in the model horse world. Disparaging other artistic perspectives to elevate yourself is a bad idea. Don’t try to convince outside venues that equine collectible creations are art, either—it’s argumentative. Just accept these conditions and behave accordingly, whether you agree with them or not. It's much better to say that equine realism challenges you in welcome ways, and leave it at that.

Network and connect. Get to know others in these new fields and make connections. Go to socials, parties, and receptions to meet colleagues and potential new collectors. Don't be intimidated if you think there are cliques either. Cliques exist everywhere, but they aren't impregnable. Introduce yourself, be polite, be unassuming, make friendly conversation, offer your best self, and be cheerful. Don't hover in a corner, quiet, brooding, and inaccessible. People notice, and it reflects poorly on you. Don't boast or be a blowhard, either. Offer ideas, insights, tips, and encouragement when prompted. Above all, offer compliments. Never appear to disparage another's work, even with body language or what you think is out of ear shot. Always find something wonderful to say about someone else's art or achievement—be supportive and reaffirming. If you make yourself accessible and gracious, people will be drawn to you and engage you in conversation, and that's always a good thing!

Networking isn't easy, granted. It takes a bit of chutzpah to get out there and force yourself to meet new people, especially for shy artists accustomed to being sequestered away in a studio all day. But it's important to get out there and get known on a personal basis. It offers you new colleagues, new insights, new inroads, and new opportunities, and that's what you'll need to make your new ventures a go.

Do field research. Gather relevant catalogs and surf websites that specialize in equine art or giftware items. Visit galleries, stores, bazaars, seasonal shows, studio tours, festivals, farmer's markets, and art and craft shows. And don’t forget those home, garden, or giftware expos, either because corporate buyers shop there and your work may have potential in that market.

Observe how works are offered and sold, too. Look for advantageous patterns or trends. Also, determine how to make your work unique among that already available. Analyze the marketing tactics and packaging schemes of successful artists. Consider their payment options and their price brackets. Identify what shows they’re frequenting, which galleries are promoting their work, or what companies with which they’re partnered. Study the booths at art festivals and determine which ones get the most business, and why. Study their presentation packaging and how their booth is set up. Pour over catalogs featuring equine items (such as giftware, jewelry, housewares, etc.) and look for ideas about what was bought by that company, and why they thought they could sell enough of that item. Visit galleries and observe how equine art is presented and marketed, and study the narratives behind each work. Look for what types of work are in galleries—how is it different from the equine collectibles venue? How is it similar or different from your own work? There's a wealth of information out there for the taking if we're willing to take the first steps and keenly observe.

On that note, determine which venues are a good fit for your work to maximize your efforts. You want to match your pieces with a vendor that fits it best. And it doesn't have to be for all your work; it could be for some of it. Don't feel it's an "all or nothing" proposition. For instance, trying to get your Saddlebred work into a store that focuses on western gear isn't really a good bet. But trying to get your mustang bas–reliefs in there is a much smarter proposition! And perhaps some venue is better for your jewelry lines whereas another venue is a better option for your bust work. However, balance a sales venue’s benefits with its overhead. Each venue has its pros and cons, so be careful they work to your long–term advantage.

So understand how to identify your target market then learn how to cater to them. Discover where they shop, and how they like to shop. Think about their needs and wants, then go about filling them. Likewise, observe how different venues attract different customers. A local art fair is a great place to study, so wander the booths and do your field work. Likewise, relevant stores offer a wealth of information, so study them as well. Tack stores, gift shops, housewares, and furniture stores can provide ideas, for instance. For example, our local Idaho souvenir store, Taters, caters to a very tight niche market, but they do so with a wildly varied spectrum of products—everything from T–shirts to soap. Likewise, our local "indie made" store downtown, Idaho Made, caters to another tight niche market: local handmade items. And again, they do so with a wide range of items, everything from jewelry to paper hearts. Those are important ideas. What we do is also a tight niche market—sculptural equine realism, so learning from venues such as these is a great way to glean ideas to help us succeed. For starters, it tells us to offer a variety of work at key conduits, and at different price points. And the more, the merrier! (Tip: A “Made in [your state]” stamp on your giftware items may be a good idea! Visitors love to buy local, handmade items for their loved ones back home, and such a stamp really puts a nice finishing touch on such a gift item.)

That said, remember that galleries and perhaps a whole segment of your customer base have very different buying tendencies. Galleries prefer consistency to a collection so they tend to discourage showcasing a wide kaleidoscope of work, but instead will pick those that share similar traits or qualities, i.e. are a cohesive collection. Similarly, some of your collectors may have the same sentiments. They're collectors, remember, and they often like to have a cohesive, complete collection. Galleries also tend to look for narrative and "weight" to the meaning of the work. They value permanent media, too, such as ceramics or metals over resins. Permanent, time–honored, traditional materials lend substance and reliability to a buyer's investment. 

When out doing field study, don’t forget to also learn from those who are buying. What kind of work are they buying, and in what price bracket? How do they interact with the artist? Listen to their conversations with the artist. Even more, listen to their conversations with each other when the artist is out of earshot to gain another perspective. (It’s OK to eavesdrop here!) Being able to identify the buyers of your work and their wants is a huge part of the equation, so learn and apply.

Understand the authority of media. A hierarchy exists with art media, so design accordingly; the materials you use often have more influence on your success than the quality of your work. 

Discriminating buyers demand quality workmanship with traditional, archival materials to ensure their investment. They want proven, quality construction. Therefore, permanent media like ceramics, metals, wood, glass, and stone are highly regarded in art. In contrast, resins, epoxies, polymer clays, and plastics usually are not. Likewise, oils, fine color pencil, fine acrylics, fine pastels, water color, and various glazes or enameling are held in esteem, but craft paints and similar bargain materials are not. 

On the other hand, resins, polymer clays, and plastics are well suited for less expensive trinkets such as magnets, ornaments, plaques, inexpensive figurines, etc., making it a good medium for giftware, household, or garden items. These materials can also be used to produce affordable interior design elements such as busts, wall plaques, or other home accents, especially if the material has a “faux” finish or is a cold–cast metal.

So determine which kind of market you wish to target before producing your work in a certain material. Generally speaking, create in permanent, traditional media for the art world and leave other materials for different markets. 

Identify your target market. Ascertaining the type of customer who would buy your work and at what price point is important to maximize your limited resources. That's where your field research comes in! Then once that’s done, determine the best ways to get your work in front of that customer.

However, pay attention to the diversity of a collector base because you can create different kinds of work to appeal to different people. For example, if you create ceramic art tiles, don’t overlook the full scope of accessories available for tiles that can be used to create gift boxes, coat racks, tables, trays, etc. Likewise, don’t dismiss housewares, construction installations or gardening notions.  

It’s important to realize that many horse people are attached to their breed or performance specialty, too. Therefore, create work targeted specifically to that focus when appealing to such buyers such as offering Arabian items to the Arabian community or Quarter Horse items to the Quarter Horse industry. Narrower still, offer cutting motifs to the cutting industry or jumping themes to the jumping crowd. Pay attention to details in your work to make it authentic. People specialized in a field have a discriminating and honed eye—they demand accuracy! 

Never forget to listen to what people in your target market are saying about your work, and then act on the comments to create the kind of work they want. You can often maintain your artistic perspective, but adapt at the same time so be flexible. 

Don’t ignore options you may consider unusual, either. For example, unicorns, pegasi, carousel horses, and Christmas ornaments appeal to just about anyone, even non–horsey types buying for their horse–loving friends or family. These may be perfect for targeting the science fiction ad fantasy markets, or seasonal sales, too. Don’t forget the “New Age” market, too, with its affinity for animal totems.

Finally, identify the peculiarities of your target market(s) because you must adapt to them. For instance, a home decor market may favor palomino Pintabians, making that motif a better investment of your resources. A local handmade tourist shop may want pieces only depicting the state horse, so be open to that. A gallery may only want to showcase your Warmblood work, so be prepared. Remember you're a business, so don’t let inflexibility get in the way of your potential success.

Think “outside the stall.” When identifying a target market, don’t assume real horse people are a viable option because the fact is that many horse owners tend to funnel their money towards their horses. Generally speaking then, it’s the less involved equine enthusiasts who usually are the collectors. Those searching for horse–related gifts for a loved one can be a good market, too, especially for gifts that are unique, of quality, and handmade. Never assume the obvious to understand the full scope of your potential.

Make your work unique. Your work must be novel in the spectrum of work already out there so create a kind of monopoly—produce work that only you can produce. Make your work extra special and distinctive. Plus, customers may be buying gifts, and a unique item has far greater appeal. So besides amplifying your own artistic voice then, make it personal, meaningful, and distinctly yours. Think about narrative and meaning. And remember, people also collect a bit of you when they collect your work, so don't be afraid to infuse a bit of you in there! 

Develop an artist statement. An artist statement is a sound bite distilling what you create and why why you create it. It can also mention your artistic style and your creative philosophy and motivations.

It should be concise and to the point, with no more than three to five tightly focused sentences. This takes careful thought to get it right, so be honest and precise. Above all, “because I love horses” isn’t a suitable explanation. Give your work a mission. Serious collectors often need to understand your deepest motivations, so avoid superficial, easy answers. Make it mean something unique people will value. Creating an artist statement is a good exercise for you, too, because it forces a clearer understanding of your motivations and goals. 

Your artist statement should be presented professionally. Write in the first person (“I sculpt,” not “Peggy sculpts”) and it should be devoid of grammatical, spelling, and punctuation errors. Phrase it to entice people to explore your work with a sense of respect and curiosity, but keep it low–key, modest, informative, and a positive reflection of your work. Avoid an excited, emotional tone, or the use of exclamation points or bold lettering. Never use slang, casual wording, self–deprecation, or overly personal information. “Preciousness” is a real turnoff, too, so avoid a pretentious or pompous tone. Lastly, refrain from verbose wording, tangents, or long–winded explanations as well. Stay on target.

Don’t be satisfied with the first draft. Run it by trusted individuals for critique, and let it stew. You should have to rework it several times to get it exactly right. Because your artist statement will be included in your promotional materials, resumes, portfolios, packaging, and interviews, be sure it has mass appeal and “readability.” It may also change over time as you evolve and diversify, so keep it current. 

Creating an artist statement is more important than most artists realize. The public and potential business partners will measure your work against it, so the two should reflect each other. Study the artist statements of other artists (which are often on their websites, in promotional materials, or in exhibition or gallery brochures). Seek advice if you’re unsure how to write yours.  

Develop a tagline. This is optional, but often very useful for promotion. In essence, it should be a witty, poetic distillation of your artist statement into a catch–phrase so people can instantly understand your art. 

It should be one phrase of no more than seven words. Like your artist statement, it’s not easy to create a good one. A good start is to identify some key words that identify your work, or why you enjoy creating it then figure out a way to form a short idea from them. For instance, if you focus on fired media, a potential tagline could be, “Expressing Equus with the Elements.” If you work in metals, this might work..."Timeless Beauty, Captivating Quality."

A tagline should appear on all your promotional materials to help cement it into people's minds. Ultimately, a good tagline will speak for your work and for you. It will become associated with your work in people's memories, so make it clever, memorable, eloquent, and meaningful. Above all, never copy—even in part—another artist's tagline, or the idea of their tagline. Keep it unique and wholly yours.

Establish Your Studio Branding. As a professional business, you’ll need to formulate studio branding, or that “visual identity” that immediately distinguishes your business. Branding consists of a name, logo, tagline (optional), identifying font(s) for your name (and tagline), and even a color scheme that embody the essence of your art work. Branding is everywhere in business because it’s an essential marketing tool for establishing an identity in a large and diverse global economy. Your studio is no different! Your branding should be on all your materials from your portfolio, your website, your promotional materials, and even stamped or inscribed onto your art work when possible.

To this end, choose a name for your studio. Keep it concise and unique and don’t choose a name that sounds like another studio. You can use your name (first or last), or make up a new one. For example, “Minkiewicz Studios LLC,” “Studio Michaud,” “Blackberry Lane Pottery,” “Pour Horse Pottery,” or “FireHorse Designs.” You’ll have to choose a distinctive font for your studio name, too, so buy one if that’s necessary (a particularly handy online font store is provided in Resources). Above all, choose a font that’s unique and easily to read and will remain so when applied to various uses and scales. You’ll need to pick a different font for your tagline, as well. Make sure the font for your studio and for your tagline "marry" together well; that they're complementary.

Designing a unique logo will convey who you are and what your art work is about. It should be clear, "clean," clever, distinctive, and easily scalable. It can be an original image, your signature, or your initials. So be creative! Sketch different options and see how they lay out together. Above all, the logo should be original, stylish, and designed according to quality graphic design standards, and clearly embody what it’s meant to convey. If you cannot design one then hire someone who can.

Develop a suitable portfolio. A sophisticated portfolio isn’t only an invaluable advocate for your work, it’s also expected in the professional world. You may need different types of portfolios for the different venues you target, or “leave–behind” versions for galleries and store owners. CD portfolios are becoming more popular, too.

All work depicted in your portfolio must be 100% your own work. Don't include model horse “borrowed” pieces, or works that weren’t created entirely by you. The images should be impeccable and developed by a reputable, quality photo lab (don't print them on your printer or use “quickie” developers). Buy a good photo editing program and learn how to use it well. Understand the standards of quality photos, too. To that end, study the photos and their presentation of successful artists for ideas and insights. Photos should also be in a traditional format, devoid of “photo show” props, realistic backdrops, or depicted like real horses in any way; i.e. don’t present your portfolio from a model horse perspective—present it as art. 

Quality images should show the work accurately for an authentic inspection. Quality images are your personal assurance on the quality of your work, and are often the only means for people to decide to do business with you. This is why quality images are paramount! So if you cannot take quality images yourself, hire someone who can—they're that important. You'll get nowhere without them, so keep them a top priority. 

Why are great images and a solid portfolio important? Any artist can have tremendous talent. Yet when an artist fails to show the committed follow–through with a professional presentation, she’s saying, “Yes, I’m talented, but I really don’t take it seriously,” which means “I don’t take my business deals seriously, either.” This doesn’t inspire confidence in anyone.

[Note: The RESS Marketing Guide has an article on formulating a portfolio, and many online articles address the subject, some of which are provided in Resources.]

Building a New Resume. Because you’ll be unable to use references from your model horse involvement in your new resume, you'll need to start making inroads into conventional avenues of art, commercial exhibition and exposure in order to have something to include. Indeed, you may find it difficult to gain access to these conventional avenues if you insist on model horse paradigms such as submitting “borrowed” work or media that isn’t held in high regard. Rethink your approach!

Strive to gain acceptance in art shows and non–model horse auctions or sales. Apply for booths in art fairs or bizarres (be aware that many of them are juried, including for your booth set–up). See if you can set up an exhibition in a gallery or rented space. Work to get your art in stores or catalogues. Overall, try to get legitimate forms of “street cred” attached to your name because this is what will be looked at when potential business partners or galleries evaluate you as an investment. 

Now it may seem like a Catch–22—how does one formulate a new resume to get into these new venues when one may need a new resume to gain entrance into them in the first place? This is where entering into art shows can be a good foot in the door. The more art shows you're accepted into, the more you have for your new resume. So get out there! Also think about offering classes or workshops that can be included, or art fairs you participated in, or conventional (non–model horse) donations you offered. What stores or co–ops is your work featured in? What non–model horse awards has your work won? What books have you written? What articles, and where? Keep at it and keep adding, and soon those new opportunities will open up which you can also include to get the ball really rolling.

Above all, know how to create a professional art resume and keep it updated. [For more information, please refer to Resources.]

Build an appropriate, quality website. The issues that apply to your images are relevant to your website, too. Those who have your portfolio will refer to your website, so why defeat all your careful work with a shoddy, amateurish website? As your portfolio is your personal “handshake,” your website is your “front door.” To that end, some key aspects to address are:

• Don’t feature the model horse venue anywhere on your website, in any way.
• Don’t feature “borrowed work” common in the model horse venue. Similarly, don’t have repaints or customs, of any kind, on your website (conventional derivative work is perfectly acceptable, however).
• Don’t have “color” galleries of your paint work. Likewise, don’t offer galleries of other people’s paint work on your “blanks.”
• Don’t have categories divided by "gender," “color,” “pattern,” or “breed.”
• Don’t use amateurish gimmicks such as music, animated graphics or buttons, or patterned backgrounds. Keep it clean, stylish, unique, and professional.
• Don’t have grammar, punctuation, or spelling errors.
• Don’t frame your website from a hobby or pastime perspective.
• Don’t offer model horse links, blogs, or articles.

To venture into the open market, your website should be stylish and function in multiple professional worlds. To that end, think about:

• Segmenting your website according to product categories or themes. Each category page can have its own “look” to make it distinct, too, so that visitors can orient themselves on your site quickly (such as a different color background and font for each product line).
• Featuring pieces that are 100% your own original work.
• Presenting your work professionally as art or quality merchandise.
• Infusing your branding, artist statement, (growing) resume, and tagline on your website.
• Keeping links sparse and directly relevant such as linking to galleries, companies, or stores that carry your work, or conventional exhibitions or festivals that you’ll be attending to sell your work. Providing links to any press you’ve received (not in the model horse world) is a good idea, too.
• Keeping your “bio” page only for parts of your life that directly relate to your artwork such as images of you working in the studio, at a gallery openings or exhibitions, or a photo of an animal who inspired a specific piece, etc. Your website should be “business is business” so relegate your more personal matters to a blog or similar outlet.
• Offering a pictorial or video demonstration on how a particular piece or product was made. Providing these demonstrations on a regular basis is very effective in keeping people coming back to your website. For example, show how a Christmas ornament you’re about to release was sculpted, molded, cast, cleaned, fired, and glazed (you can offer this demonstration after the reveal of its debut, or as a teaser). Often educating people on the process can go far to enhance the novelty and value of your work.
• Designing your website from the customer’s point of view. It should inspire investment confidence and a desire to investigate your work further.
• Keeping your website updated because outdated information antagonizes your client base. If you wish, you can include a date on each page to indicate when that page was last updated.
• Designing your website with easy navigation so customers can find what they’re looking for quickly. You want as few “clicks” as possible. 
• Offering a “news” page for bulletins on your upcoming work, events that will carry it, and personal appearances. You can also offer teaser images of in–progress work or sneak peeks of finished pieces.
• A subscription link to your mailing list or email newsletter.
• Cart buttons to buy work.
• A link to contact you.
• Developing a second website for your outside work to separate it from the model horse market because you can keep your model horse business going if you’re careful. But it’s not wise to combine the two genres, even on hidden pages.  

Overall, a well–designed website accentuates the professionalism and “must have” aspect of your work. Study the websites of successful conventional artists for ideas on design and organization. If you don’t have the time or expertise to create a good website (or keep it updated), hire someone who can—again, it’s that important.

Conclusion to Part 1

Your creativity is important to foster, but it's equally important to explore and expand. Keeping your options open is also smart business sense because it allows you to ride the highs and lows of the equine collectibles market. 

Venturing out into the "big, wide world" isn't so scary and intimidating—it's doable! And it's fun. Learning how your work can find success there is reaffirming and also validates your work inside the equine collectibles genre. Just be brave, take a deep breath, and jump in!

Above all, remember it takes time and energy. The easy kudos won in the model horse venue won't be so simple to come by in the larger experience. Don't get discouraged. Just rethink, redo, and reapply. Tweak where necessary and tackle the challenge again. Keep at it. It takes perseverance and gumption, so don't give up. Things like this need to gain their own critical threshold, and then things really start happening for you. Make connections. Network. Find opportunity, and if you can't—make it! Create your own niches. You owe it to yourself and your talents!

In Part 2 then, we'll explore more ideas on this topic. There's lots more to consider, so chew on these ideas from Part 1 for the time being.

So until next time...onward to glory!

"One important key to success is self–confidence. An important key to self–confidence is preparation."

~ Arthur Ashe

Beyond The Ribbon: Adventures Beyond Equine Collectibles Part 1