Bill Farnsworth

Selling your Art without selling your soul

Bill Farnsworth · Jul 7, 2014 · Leave a Comment

Bill Farnsworth "Lily pads" Oil on Canvas 14 x 18 — “Lily pads”, by Bill Farnsworth, Oil on Canvas 14 x 18

Choosing to make your art career a full time occupation that pays your bills has always been a daunting challenge.
In the past parents discouraged their kids from becoming an artist because many starve. Thus starving artist. But if this is truly what you want to do, you must be “all in” and go at it with not only your passionate artist heart, but the mind of a business person. My background as an illustrator gave me a thick skin when it came to rejection and from that I knew the “art ride” would be a roller coaster. One success would erase 10 failures.
When I entered the illustration field the big names where already established so I had to hustle even more. Dragging my portfolio all over New York sometimes felt like I was invisible.
My portfolio had to be relevant for the times. I would look at magazines and books on the stand and see what was selling. Was it something I wanted to do or was even capable of? So I had to redo my book every few years as I gained more tear sheets from jobs, showing only my best.

Fine Art is no different in the marketing aspect. What are galleries showing and will my work fit? Some galleries only show abstract while others feature mostly representational or a mix.

Bill Farnsworth "Chewin' the fat" Oil 24 x 36 — “Chewin’ the fat” by Bill Farnsworth, Oil 24 x 36

The gallery might love your work, but if it overlap’s with another artist they may pass on you. That’s actually a sign of a good gallery, because they are protecting their other artists from competition within the gallery.
Another big consideration is your price structure. When just starting your prices should be low with gradual increases annually based on sales, exposure, awards, etc.
Your price structure will be a factor when entering a gallery. If you are low it might hurt the other artists and if you are high collectors might pass you by favoring a lower priced artist. It is the job of the gallery to educate collectors as to why this artist demands their prices.
As you build your sales, it’s important to increase your price structure gradually, because if you go too high too soon you can never go back down. If a collector buys your painting and finds out you had a fire sale on the same size painting they will not be happy and you may lose a loyal collector.
Most galleries will show art that reflects the area, so depending on the region your scene of palm trees may only sell in galleries along the Gulf Stream. Ideally, if your subject matter sells in any gallery you will be able to rotate your work through all your galleries for each season.
Framing your painting is the packaging for your product. The right frame will either make your painting sing or groan. I see many good paintings with cheap frames that suggest the artist doesn’t care about the final presentation.

When you have finally broken into a gallery, you are in a trial mode. The gallery owner needs to get a reaction from your art. Collectors have to gravitate to your art and with the help of the gallery may decide to purchase your painting. Red sticker “Sold”!
This is such a big thrill for an artist, because the Collector wants to live with your art. It is the very best compliment.
Now your stock in the gallery has gone up and after a few sales you might be offered a show.
The best galleries will suggest but never tell you what to paint. If seascapes are selling then paint them. My subject matter is fairly broad so I might have several different things I like to paint that collectors like as well.

When your art isn’t selling don’t panic! “There is a collector for every painting”

Bill Farnsworth "Invitation" Oil on Canvas 21 x 17 — “Invitation” by Bill Farnsworth, Oil on Canvas 21 x 17

This is when all artists think their careers are over. Paintings aren’t moving and we second guess what we are painting. This is a critical time to take a step back and review your body of work and Galleries. That’s when taking a trip to a new place, visiting museums and maybe taking a workshop from another artist you respect could renew you.
Paintings could sit in a Gallery for a couple years and then a Collector walks in. Or you may move the same work into another gallery and it sells quickly.
The main thing is you must never lose your pure excitement and passion for painting.
If you are excited about what you are painting others will feel that too. Painting something that you think might sell cannot stand by itself without the passion. This will reflect a struggle and collectors will ignore it.
As artist’s, we constantly learn from each other and it’s great to spend time and share your thoughts. Teaching workshops not only is an added source of income but helps you verbally articulate what you do. This well improve your painting skill when teaching others. Your students may also be future collectors.

Advertising, Website, and Social Media

Taking out ads in art magazines, maintaining a strong website, and using all forms of social media puts you out there. You may be a Master in your own studio but if no one knows about you, It might as well be a hobby.
I find my website is being looked at every day whether it is 15 or 100 people. I use FASO, and this site helps me upload and change my site whenever I want. It also gives me website traffic info. What are folks looking at, for how long and what part of the country are they from.
More and more collectors are looking at websites, so it is probably your single most important vehicle to put you out there. More articles on websites for artists.
Social media, like Facebook is a lot of fun and sometimes a huge time killer.
When I am done with a painting I’ll post a few of them on Facebook to get a reaction. Sort of a pre-marketing thing. General public reaction can give you a good idea of how well collectors might view it.
If anything, it gives us an ego stroke if other artists “comment”, or ” like it”. The camaraderie of social media helps artists gain encouragement and we all need that, as long it doesn’t over inflate our ego.
Finding the balance between the business side of art and staying true to ourselves as artist’s maybe different for each of us. Making a living as an artist is a great calling that hopefully improves other people’s lives as well as letting you have a wonderful and full life.

Tips for Entering National Shows

Bill Farnsworth · Jul 29, 2013 · 16 Comments

Bill Farnsworth OPA is the winner of the 2013 Juried Salon Show’s Bronze Medal Award. He obliges us by sharing some thoughts about entering national shows.

An Emotional Roller Coaster for Oil Painters.

"Charleston Stories" by Bill Farnsworth OPA — “Charleston Stories” by Bill Farnsworth OPA

All artists want their art to be accepted. Whether it is showing in a gallery, invited to an event, or juried into a National Show. Some of us will show in local art organizations and while they help support local art in the community, it’s the national shows that help the artist’s career. They also put your art in an area with potential new collectors and a possibility for gallery representation.
But the draw backs for some artists is that if they are not accepted they may stop entering all together. I have had the same frustration when entering what I thought was my very best work and then being fed a huge slice of “Humble Pie” in the form of a rejection. As an illustrator I learned quickly that you can’t wear your heart on your sleeve. You feel bummed out for a day, then you get back up and enter another show. Your best revenge is getting better, not getting ticked off at the judge or the show. This business is a roller coaster with big dips and big highs. One big success can erase a 100 failures. Failure is an opportunity to raise the level of your art, but if you get ticked off and blame it on politics, you will set yourself back.

Presenting your best work.

Throughout the course of a year I try to plan ahead and give myself enough time to do a painting for a show. You wait till the last minute it may not be your very best effort.

When we create a great painting there is a difficult decision whether to hold back the piece for an upcoming show or get it out to your gallery, because you know it will sell.
If you are trying to make a living in this business you have to sell paintings and when bills come with relentless regularity, it is very hard to hold back your best work. However some paintings are very salable in a gallery, but may not be show paintings. Figures can be a tough sell in a gallery depending on the artist, but they can make quite a statement in a national show. The level of expertise in all the principals of painting has to be very high. Whatever you enter it has to be your very best.

Showtime.

Ok, so you get in the show. Your happy and now you have to ship your painting to the gallery on the due date. The expense is starting to mount with entry fee and shipping both ways.
Not to mention travel expense to the show if you want to attend the opening. Attending openings is very important and I don’t do it enough. As an artist, you have the opportunity to meet new collectors and fellow artists. Our occupations are sort of hermit-like, so to get out and talk with people is good for the soul and the career.

"Rhythm" by Bill Farnsworth OPA — “Rhythm” by Bill Farnsworth OPA

Some National shows have some big awards, like OPA, AIS, NOAPS, Scottsdale Salon, ect. If you are fortunate enough to win an award, enjoy it for a few days, maybe a week, but then put you ribbon away and realize that a lot painters deserve the honor as well. If it helps your confidence to become a better artist, great, but if it feeds the unlimited ego, the fall can be hard. Many artists fall into the “post-award ego abyss” and it damages their careers.

Getting exposure online.

There are more and more online shows now, like Raymar and of course the OPA. These are great because you can enter a piece that has sold and you don’t have the shipping expense.
Your work can be seen by thousands who may visit your website. If you don’t have a website today it is like going to a party and hiding under the table. I use Fine Art Studio Online and it has been great. Everybody today has a smart device that they can view art anywhere without physically being in the gallery.
National shows give the artist exposure, and the more you are visible, the more people can appreciate all the work that you have put into your paintings. Good Luck.

The Artist and their environment

Bill Farnsworth · Jun 24, 2013 · 9 Comments

"Hanging With Albin" by Bill Farnsworth OPA — “Hanging With Albin” by Bill Farnsworth OPA

Artists have long been influenced by their surroundings.
California artist’s paint mostly California scenes and so on. But that is just the surface layer in what makes us who we are. For me, family is first , and if all is well on the home front, all will be well in the studio. Working out of my house all those years as an illustrator kept me in close contact with my family, so I knew most of the time what my kids were up to and put out the daily fires that spring up when you are working out of your home. I love to cook so at the end of a hopefully good day in the studio, I’ll pour a drink and start prepping dinner. The process of switching from a brush to a spatula is relaxing and is great time to wind down. Food is such a great part of life that if we treat it only as fuel, we are missing out. Cooking, like art has core principals, and if you learn those principals, wonderful things can happen. My wife Debbie is a Kindergarten Teacher, so she comes home wiped out and in need to talk with an adult and I need to talk to anybody but the dogs. We have created a home we both really love and it is a place of sanctuary. Our neighbors and friends come over for Potluck dinners once a week. Living in Florida has allowed us to live outside year round and working for myself was a great way to work at another passion, my back yard. During a couple of good illustration years I starting putting patios, Tiki bar, fountains and an outdoor fireplace. Building the fireplace was an extension of my creative energy.

"In The Bowl" by Bill Farnsworth OPA — “In The Bowl” by Bill Farnsworth OPA

"Dash of Light" by Bill Farnsworth OPA — “Dash of Light” by Bill Farnsworth OPA

It also became a big meeting place for family and friends. I think these elements family, friends, cooking and building things have made me a better artist. The balance act artists have to juggle in order to survive is different with all of us, but I think we all have to be aware of not just what’s in our studio but what surrounds us.
As artist’s, we are sensitive to our environment and usually shows itself in our paintings. Some move to locals that inspire them and start creating the best art of their lives. For many of us moving is not feasible, but we can make our studio and home a place that inspires. My wife understands that her five year old students, who are starting school for the first time, need to feel safe and happy in order to learn. If our environment is one that inspires and makes us happy it will show in the art we produce. Collectors buy art that makes their lives better and are in essence buying a piece of who we are. I don’t want to sugar coat our careers as artists because it is very difficult, but I am reminded of a school talk I did years ago and at the end of my show a little boy asked me “so you get to stay home and color all day?” Yes, yes I do.

The Art of Survival in the Survival of Art

Bill Farnsworth · Jun 25, 2012 · 2 Comments

Since the Great Recession hit, most artists have been impacted. Collectors cut back on luxury items and art is at the top of the list. Workshop enrollment is down as well, and if you teach a lot of workshops that can be a big impact. Some artists have taken on part-time teaching as a steady gig. Doing a couple of day’s part time teaching is fine, but if you go full time it may really impact your studio time.
As an illustrator for many years I learned very fast how to hustle if I was going to pay my bills. Self-promotion was a constant thing even with an agent. Making new contacts in the Illustration world was a constant thing. Tailoring my art to the Illustration market was not much different than the fine art field. However, the fine art has allowed me to paint what moves me and still be able to sell. The last two years I have transitioned into all gallery work, which means every painting I produce is spec. So now I am trying to use what I’ve learned in the commercial world, into the fine art world. Not all of it overlaps but the business practice does.
I try to do all E-mail correspondence, phone calls, and all other loose ends before 10am and then I will have an open block of time in the studio where I can think about the painting process and not a little thing in the back of my mind. If I want to contact a gallery by phone I will have to do it after 11am, if an email won’t work. At night I might go back into the studio to touch up a little, but mostly I plan for the coming months. Keeping steady workshops planned is difficult, but you can spread them out over the year. Teaching is great way to verbalize your approach and can be a great learning experience for you as well as the student. If the area you are in during the workshop has some great scenery, take advantage and paint it or photograph it on your free time.
I keep a studio calendar list of all my upcoming workshops, shows and paint outs so I don’t lose track of opportunities. Knowing when an important show is coming up will give you more time to set aside your “show pieces”. It’s always a tough thing to do a good painting that will sell and set it aside for the shows. Choosing my own painting for a show is sometimes hard for me, so I might post it on Face Book or have some artist friends over to get a reaction that will help me in judging the right painting for an upcoming exhibition.
Recently, I have been rethinking my framing and expanding my choices. I have about four frames that I use all the time and they look great on almost everything, but sometimes having a half dozen other choices might be the difference for a Collector riding the fence. I learned early in my career that a bad frame can kill a good painting. Let’s face it; it’s the package for your product. I was in a show at The National Arts Club years ago, and that year Everett Raymond Kinstler won best in show for a stunning painting and an equally beautiful frame. When the show came down and I picked up my art, one of the curators of the show told me my painting was very well done, but the frame made it look amateurish. He was right. Looking around at the other paintings with beautiful wide gallery frames made an impact on me.
As an artist, I am not the best business person, but have learned a lot over the years in order to survive in an extremely up and down market. Some of my artist friends have taught me a great deal about good business and I have been able to use some their advice. When you sell a painting at a gallery make sure you can follow up with another piece to replace the sold painting. If there is a blank space on the wall, it will get filled with another artist’s work.
The last element in our survival in Art is the psychological aspect. Artists, I think tend to be a little insecure because of the volatile nature of the business. If we don’t sell a painting in a month we second guess the subject matter we paint and everything else. Having the right frame of mind is essential in creating our best art and succeeding. The illustration field taught me to have a thick skin because one day maybe a diamond and the next a rock. An artist’s ego can be a dangerous thing. Win an award, be happy for a couple of days, and then put your ribbon away. Living in a good environment surrounded by loving family and friends , will always be a solid foundation during the bumpy ride in Art.