How Much Should I Charge Family for My Art
Quantifying Creativity
How Whatever Creative person Tin
Cost Their Art for Sale
Pricing your art is unlike from making fine art; it'due south something you practice with your fine art afterwards it'due south made, when information technology's set up to get out your studio and go sold either by you personally or through a gallery, at an art fair, online, at open studios, through an agent or representative, wherever. Making fine art is about the individual personal creative process, experiences that come from within; pricing fine art for auction is well-nigh what's happening on the outside, in the real world where things are bought and sold for money, and where market forces dictate in big office how much those things are worth.
The better you understand how the art market works and where your art fits into the big picture of all the art by all the artists that'southward for sale at all the places where art is being sold, the meliorate prepared you are to cost and sell your art. Only similar whatever other product, art is priced according to sure criteria-- art criteria-- and these criteria have more to practice with what's going on in the market place than they do with you as an artist. They're about how people in the art globe-- people like dealers, galleries, agents, publishers, auction houses, appraisers, buyers and collectors-- put dollar values on art. You take an idea of what your art is worth, the market has an idea of what your art is worth, and somehow the ii of yous have to get together on a cost construction that makes sense.
Let's have a not-art example of how market forces dictate prices. Suppose you lot run into a 2001 used Toyota Corolla with 180,000 miles on information technology advertised for auction and priced at $45,000. The possessor is probably not going to sell that automobile. In order to sell a used Toyota Corolla with lots of miles on it, you lot have to price information technology according to certain criteria, used car criteria. In the same fashion, in order to sell art, y'all have to price it according to art criteria. Learning what these art criteria are and understanding how they apply to y'all is essential to pricing your fine art successfully.
Art prices are not pulled out of thin air. When you price your art, yous must be able to show that your prices make sense, that they're off-white and justified with respect to certain art criteria such as the depth of your resume, your previous sales history and the particulars of the market where you sell. People who know something about fine art and who are interested in either buying, selling or representing your work are going to figure out one way or another, not necessarily by asking you, whether your art is worth what you're asking for it. In club to sell, you have to demonstrate and convince them that your prices are fair and reasonable. If you can't exercise this, you'll take a hard time selling whatsoever art at all.
So how practice you start? If you don't take a consistent history of selling your art in a detail price range or in a detail market or your sales are erratic or you're making a modify or you're only manifestly not sure how much to charge for any reason, a proficient kickoff step is to employ techniques similar to those that existent estate agents use to price houses. The selling toll of a house that'southward merely coming onto the market is based on what are called "comparables" or "comps" or prices that like houses in the same neighborhood sell for-- real estate criteria.
For case, let's have a overnice big mansion and plop it down in the good role of Beverly Hills. It'll be worth maybe 5, maybe ten, maybe xl meg bucks. Now, let'south plop it onto the plains of North Dakota. Information technology'll be worth mayhap $500,000, perhaps $1,000,000 or maybe a petty more... max. Same mansion; different neighborhood; unlike criteria; dissimilar prices. Go it?
Yous meet, yous can't price your art in a vacuum; yous accept to consider its "neighborhood," its context, the "art criteria" that connect it to the rest of the art world. Y'all'll find that no matter what market you sell in, whether local, regional, national or international, that for the most part, every type of art by every type of artist has its ain price structure, and that includes yours. Now you lot may be thinking, "But my art is unique. You tin't price art like that." Yes it's unique, but so is every house in whatsoever given neighborhood. No thing how unique your art is, it's as well similar in certain ways to fine art by other artists-- but like one firm is similar to another (they both have certain numbers of rooms, square footage, and and so on).
Here are some of the ways your art may exist similar to other art-- it may be similar in size, shape, medium, weight, subject area affair, colors, the time it takes you to make it, when it was made, how long yous've been making that type of art, how many yous've made, what type of art information technology is (abstract, representational, conceptual, etc.), who your audience is, and so on. Your job is to explore and get to know your marketplace, go along an open up mind, notice that similar fine art, find the artists who make it, focus on those who have similar experience and qualifications to yours, and see what they charge for their art and why.
For those of you who have piffling or no sales experience, who haven't sold much art, a good starting betoken for you is to price your piece of work based on fourth dimension, labor, and cost of materials. Pay yourself a reasonable hourly wage, add together the cost of materials and make that your request cost. For example, if materials cost $50, y'all accept 20 hours to make the art, and you pay yourself $20 an hour to make it, and then you toll the art at $450 ($twenty Ten 20 hours + $50 price of materials). Don't forget the comparables, though. If you lot employ this formula and your art turns out to be more expensive than what other artists in your expanse charge for similar art, you may have to rethink your pricing, pay yourself a little less per hr perhaps.
So in summary, hither are the basic art pricing fundamentals:
Pace 1: Define your market. Where practice you lot sell your fine art? Do y'all sell locally, regionally, nationally or internationally? The art, artists and prices in your market are the ones yous should pay the most attending to.
Step 2: Define your type of art. What kind of art practise you make? What are its physical characteristics? In what ways is it similar to other art? How do you categorize information technology? If y'all paint abstracts, for instance, what kind of abstracts, how would you lot describe them? This is the type of art you generally want to focus on for comparison purposes.
Step iii: Make up one's mind which artists make fine art similar to yours either past researching online or visiting galleries, open up studios or other venues and seeing their work in person. Pay particular attention to those artists who also have career accomplishments and resumes similar to yours, who've been making art about every bit long every bit you have, showing about every bit long equally you have, selling about every bit long as you have and then on.
Footstep four: See how much these like artists charge for their fine art. Their prices will be good initial estimates of the prices you should accuse for your art.
At the same time you're zeroing in on art that's similar to yours, yous also want to keep an center on what's going on with other artists in your area, even if their fine art isn't that much like yours. If you lot focus too much attending on as well narrow a slice of the art globe and as well fiddling attention on the rest, or even worse, you dismiss the residue as irrelevant, your prices may brand sense to you and a few people around y'all, but not to anybody else. The more than aware you are of the big moving-picture show, of what other artists make, how much they accuse for it, who buys it for how much and why, the better prepared you are to price your fine art so that information technology has a chance to sell in a broad range of circumstances.
Pricing past comparison works in the groovy majority of cases, merely you can go even more accurate with your pricing to really make sure your prices make sense, AND More Chiefly, that yous can justify them to anyone who asks. In case you're thinking this is all nonsense, I appraise fine art professionally. Sometimes, I have to justify or defend my appraisals to entities like the IRS, insurance companies, estate executors, and the legal system-- and sometimes those appraisals and justifications are subject to penalty of law. My indicate is that people identify dollar values on art all the fourth dimension, that certain rules, methods and techniques exist for doing so. I'm showing y'all some of that here, techniques any creative person can use to value their art. So let's go pricing. The following factors aren't in any particular order, and may or may not apply to yous. Y'all determine what works best.
To brainstorm with, be objective virtually your art and your experience. In order for your prices to make sense, you lot have to adequately, honestly and objectively evaluate how your fine art measures up to other fine art that's out in that location. In order to make valid comparisons, you demand a good ballpark idea how the quality of your art and the extent of your accomplishments stack upwards confronting those of other artists, particularly the ones who y'all'll be comparing yourself to. In other words, don't exaggerate your stature. If you've been making art for three years, for instance, don't compare yourself to artists who've been making information technology for twenty. Being honest similar this is not necessarily piece of cake and information technology's not necessarily pleasant, but it's essential if y'all want to make it as an artist.
Base your pricing on facts, non feelings. Don't confuse your own personal opinion of your art, or what you remember the fine art earth should exist like, or how yous think information technology should answer to your fine art, with how things actually are. If you find yourself saying stuff like "People don't understand my work" or "People don't appreciate me" or "I'm only equally good as Vincent Picasso fifty-fifty though he's famous and I'm non" or "Sooner or later I'll find the perfect dealer or collector or whatever and alive happily ever subsequently," you may be making some errors in judgment. If you're non quite certain where y'all stand, invite a few people to look at your fine art and tell you what they think-- preferably professionals who know something about fine art-- non your best friends or biggest fans, but ones who'll be honest and directly. Encourage them to be truthful considering that's what you demand. And don't get defensive; doing this will help you. When you lot're objective most your art, you maximize your chances of succeeding as an creative person.
If information technology's whatsoever alleviation, and I know you lot want your art to sell for as much money as possible, your art is still the same art, it's still only as proficient, you're still the aforementioned artist and yous're still merely every bit expert, no affair how you lot price it. Simply because y'all price something at $twenty,000 instead of $200 does not brand information technology "better". Don't use dollar values to validate yourself as an creative person; use them to sell your art. Nothing is worth anything until information technology actually sells, and someone easily you the money and takes your art in exchange.
This next point I already fabricated, but because it'southward so important I'k going to brand it over again this fourth dimension from a unlike bending. Don't call up that your fine art is so unique that you can price it without regard to what'southward happening with other artists or elsewhere in your art community or in the fine art world in general. All fine art is unique. Every artist is unique. Uniqueness, however, is not and never will be the sole criteria for pricing art. But await. Let'due south say, for the sake of statement that your art is unique and that it's unlike any object, art or otherwise, ever created in any manner since the beginning of fourth dimension.
Now let's do a quick switch and consider that art from the perspective of experienced dealers, curators, critics or collectors. These people well-nigh ever compare art from creative person to artist and from gallery to gallery before they decide what to purchase, sell, collect, write about, exhibit or represent, no matter what kind of fine art they're looking at or how unique it is. They rarely, if e'er, observe themselves with but 1 pick. Tin can you imagine any knowledgeable fine art person looking at an artist's fine art and saying things similar, "I have never seen anything like this! I must have it. I don't intendance how much it costs. I don't intendance who you are. I'll take it. This is unbelievable." Not going to happen. Even if your art is notably unique, people who know art will find some fashion to compare it, categorize it and chronicle it to other art by other artists in order to appraise its significance, its dollar value, and ultimately its institutional or market place viability. Y'all have to practise the same.
In one case you've washed your evaluating and yous're ready set your prices by comparing, base your prices on what sells, non on what doesn't. For example, suppose you've narrowed your comparables search down to a handful of artists whose art is priced in the $2000-$20,000 range. If the simply art that sells is in the $2000-$5000 range, and the expensive pieces don't sell, this tells you lot that buyers don't desire to pay the more than expensive prices-- they're too high. So $2000-$5000 is probably where you desire to price about of your art, and forget about going much higher.
By the way, high priced originals are sometimes used to sell lower or more than affordably priced originals or prints of originals. Sure galleries or artists don't intendance whether they sell their most expensive works, and may not fifty-fifty want to; they're perfectly happy to sell the lower priced originals or the prints. Pricing sure originals high is a marketing technique designed to brand lower priced originals and prints look more attractive to buyers, almost similar they're bargains. This coattail effect does piece of work, so don't automatically presume the highest priced art always sells because many times it doesn't.
Related to evaluating an creative person's range of selling prices is the fact that yous want to price your art co-ordinate to what other art SELLS for, non what it'south OFFERED for. In other words, if it's priced $8000, but it sells for $5000, price closer to $5000 than $8000. Sometimes you see galleries where retail value is i thing, only the toll they're willing to sell information technology for is essentially lower. This is another technique that is designed to make buyers feel like they're getting bargains, and it may work for galleries, but it doesn't necessarily piece of work for artists. Y'all don't want to become get known for substantially lowering your prices because buyers will catch on, expect you out, and turn down to buy until auction time rolls effectually. Negotiating a lower cost here and there on a case-by-example basis is fine, but avoid wheeler-dealer price-slashing sales techniques. Getting that kind of reputation may compromise the integrity of your art.
Now allow's wait at comparison-shopping from the BUYER'Due south standpoint. Art is no unlike than any other product or service in that many people who buy it tend to compare prices before they purchase. I'll give you a adequately mutual example. Suppose someone sets aside $5000 to buy one piece of fine art. Allow's say she goes to a agglomeration of galleries and sees a bunch of art, and finds 3 paintings that she likes as well, all most the aforementioned size, similar subject matters and quality, all past artists who are as qualified. If 1 of those pieces costs $4000, 1 costs $4600, and i costs $5000, which one do you think she'll buy?
The moral of the story is to price on the depression side of your market, specially if you're less established, less experienced or trying to gain a foothold in a new or more competitive realm. Doing this increases your chances of making sales. You lot come across, when someone buys a piece of art from you lot, that'southward one less piece that they're going to purchase from other artists. You want to maximize the number of pieces that people buy from you. That's how y'all make a living as an artist.
No matter how you prepare your prices, you have to be competitive. As distasteful and capitalistic every bit this may sound, you're in competition with other artists, not in the sense that you're having paint-offs or sculpt-offs with the artists downward the hall or across boondocks or online, simply in terms of doing what you can to attract buyers, make sales and generate the coin yous need to survive equally an creative person. This is why I go along hammering abroad almost comparing. People who buy art do it; you should also.
When you set up your prices, always recall the divergence between gallery prices and creative person prices, the divergence betwixt retail and wholesale. Selling fine art directly online or out of your studio is wholesale; selling it through a gallery or dealer is retail. If you're not a gallery or are not represented by a gallery, if you don't have gallery overhead, if you don't offer gallery-fashion amenities, don't price at gallery retail. When a gallery sells a piece of art, the artist usually gets about half the selling toll. And then if a gallery sells art by other artists that is comparable to yours for $2000, that means the artists get near $1000, then you should price your fine art for sale directly from you at almost half the gallery retail-- similar to what the artist gets-- more in the range of $1000 than $2000.
If you already have or are about to get gallery representation, all of this changes as the two of you volition take to decide how to reprice your work for a retail setting, whether you lot volition be allowed to sell direct online or from your studio, what the arrangements for directly sales volition be (if immune), and and so on. But for now, assuming you lot are an creative person without representation, keeping your prices in the realm of wholesale increases your chances of making sales.
By the style, sometimes a gallery marks up more than twice what the creative person ends up getting. These tend to be more commercial galleries in locations with with high overhead. It'south up to yous how much you'll allow a gallery to take, just the less experienced you lot are, the more than seriously you should consider any gallery's offer to show and sell your art even though they may accept high marking-ups, assuming they concord to run across your asking prices, bold they're reputable, assuming they don't rope you into long term contracts. You run into, if a gallery only pays y'all $one thousand for your art, but they sell information technology for $4000, buyers perceive your art as being worth $4000, not $1000, and that's good for you in the long run. In a sense, you're paying the gallery to promote you, to increment your proper name recognition and the value of your fine art in the eyes of the public, and a gallery that does this well deserves the commissions they charge.
Suppose yous hook up with a higher markup gallery like that. Yous don't necessarily take to stick with a lopsided dissever forever-- I certain wouldn't. If they go on making sales and the two of you lot want to go on the human relationship going, you may be able to renegotiate the commission at some point. If you can't, you may have to go out, but if you lot decide to go out, make sure you have other sales options to autumn dorsum on. Don't cut them off if they're your main means of support.
And then to echo, especially when you're starting out, don't demand likewise much. In general, someday anyone proposes to sell your art for more than it'due south always sold for before, fifty-fifty though they may want a lot in return, assuming they're reputable, assuming a reasonable contract, think well-nigh information technology. The extra money they may brand in the curt term volition be zilch compared to the extra money y'all stand to make in the long term past having someone set new loftier selling prices for your fine art. Those new high prices volition exist good for the remainder of your life, and that's a long time. The style the art world works, by the manner, is that more famous you lot get and the higher your prices become, the more than control you progressively gain over your artistic destiny. A number of well-known artists actually dictate their commission arrangements to galleries that want to testify them, rather than the other way around.
Let's talk consistency. At all times, be consequent with your pricing. Artists sometimes toll certain pieces arbitrarily based more on how they experience well-nigh them or how fastened they are than on what the market for that art might dictate. Recollect our used Toyota example? No affair how much that car means to the seller, no thing how fond his memories are, the $45,000 asking price is not consequent with what similar used Toyota's sell for. Personal feelings, attachments or sentimental value are intangible, non-transferable, and cannot exist measured in monetary terms. The car is non worth more than what similar cars are selling for, no affair how much it means to the seller.
Hither's how this applies to art. Supposing I'1000 consulting with an artist and nosotros're going over selling prices. Nosotros're looking at a series of paintings, like in size, field of study matter, and other particulars. They're all priced in the $1000-$2000 range except 1 that'south $x,000. So I inquire, "Why is this one and then expensive?" If I go an answer like, "It means a lot to me" or "I don't really desire to sell it" or "I really honey it," that means artist is equating dollar value with personal feelings like how emotionally attached he is or what he went through when he painted information technology. Though he has every right to feel strongly about information technology, equally do you about certain works of your fine art, he tin't base selling prices on feelings. Feelings are non-transferable and tin't exist translated into dollars and cents. You can simply sell fine art, not feelings.
Pricing by how you experience looks arbitrary and inconsistent to outsiders. If they come across a mix of high and low prices for similar works of art and can't figure them out, they rarely ask why. They don't ask because they're not sure what to say, they don't want to insult you, they don't want to get into uncomfortable conversations, and then on. Even though your prices make perfect sense to you on a personal level, if they don't make sense to others, sales volition suffer. People like straightforward piece of cake-to-sympathize price structures. Consistency in pricing is a cornerstone of successful selling.
The expert news is that solving emotional price problems is like shooting fish in a barrel. All you have to exercise with fine art that means the most to you, the stuff you lot won't sell unless someone really pays you for information technology, is keep information technology in your own personal collection. Don't show information technology in public. If you really want to testify it, put NFS on it-- not for auction-- or "Collection of the Artist." Don't toll it. Know that if you do prove it, though, certain people might come up up to yous and say things similar "Oh-- that'south my favorite. Information technology's the best 1. It's non for sale? I would have bought information technology." Whether they would have bought it or non, y'all may well lose sales by making people jealous of what they cannot accept.
Inconsistent pricing on the depression side can piece of work against you equally well. For instance, let'southward say you cost some art actually low because y'all don't like it, it's the sometime stuff you don't make anymore, y'all're tired of looking at, you've run out of space, information technology reminds you of someone you don't want to exist reminded of, you're cleansing your surroundings, whatsoever. Experienced buyers who bargain chase for fine art honey it when artists price low art based on feelings or emotions rather than on the quality of the work or other objective marketplace factors. If you're planning on having an art-I-don't-like-anymore sale, get an informed outside opinion first to brand certain you're not selling yourself curt.
All artists demand to sympathise the difference between complete strangers and friends & family unit. What you sell your fine art to friends or family members for is not necessarily what your art is worth on the open market, and not generally a good way to value your art. I can't tell yous how many times I'm working with an artist on prices, they say something like, "I've sold three paintings for $2000 each and 1 for $3500," and bluntly, I don't see the value. And then I ask, "Who'd you sell them to?" And I get answers like "My best friend," "My mom and Dad," "Uncle Mike," and and so on. These people beloved you; they want to encounter you lot succeed equally an artist and will do anything to aid you attain that goal including paying whatsoever you ask for your art (assuming they tin afford it). They are not the cold vicious impersonal fine art world. Allow them honey you lot, let them assistance you, let them be generous, merely by all means, don't employ the prices they pay as indicators of what your fine art is worth on the open market and ignore all the techniques discussed above.
What your art might sell for at a charity fundraiser or benefit auction does not necessarily take anything to exercise with the value of your art on the open market. Many times, people who purchase or bid art at fundraisers and benefits care more nearly supporting the organizations involved than they do near what they are getting in commutation for their donations. In other words, bidders or buyers may pay excessive prices for art not because that is what the fine art is realistically worth, but rather because they know their money is going to a good crusade. The art to them is secondary to the contribution they are making. If a piece of your fine art sells for substantially more than at a clemency auction than it might out of your studio, this is not necessarily a good reason to enhance all of your prices (read more most when to raise your selling prices beneath).
* Some people who actually like your art can't beget much. They may exist among your biggest fans though, so give them a risk to buy something-- a modest painting, a impress, a drawing, whatever. Have affordable options. Your art is your billboard, your business card. The more art y'all sell, the more people you sell to, the more than places you show it, the more than people run across it (both online and at physical locations), the more you go your name out at that place, the better known yous get, the more goodwill you lot create, and in the end, all that skillful comes back to you, much of it in the grade of increased sales.
* If you're in a group show, submit fine art that'southward in the same price range every bit the rest of the art in the prove. You don't want to enter the most expensive piece; yous don't want people'southward first impression of your art to be sticker daze. You lot want your art to stand out for art reasons, not coin reasons. If yous're not sure what the show's toll range is or what price range generally sells best, enquire the organizers before you submit.
* For those of you with websites, don't show art that'due south already sold alongside art that's notwithstanding for sale. Showing sold art with for auction fine art doesn't help you make sales. Some artists call up that if visitors run into how much is selling, they'll want to join the oversupply and go one too, before information technology'due south too late, before they're all gone. Only exactly the contrary happens. People meet a mix of sold and for sale art and think, "All the all-time ones are gone; goose egg's left but the basic. I don't desire sloppy fifteenths." People don't want to see what they missed, what they can't have. They desire to encounter calculator screens full of studio-fresh art where they get starting time pick, and everybody else can fight over the crumbs. Best procedure is to either remove fine art from your site when it sells and supplant it with new fine art OR motility it to a category or gallery called "Past Piece of work" or "Select Past Work". That way, visitors can see you are selling, but won't confuse information technology with art you have for sale.
* If asked, be willing to talk most what you lot've sold, how much you've sold, who's buying, where they're buying, or how much you've sold it for. Providing information near your sales history serves to support your asking prices and makes people feel amend almost buying your art. You tin also put this data in your "Past Works" or "Select Past Works" section past showing mainly your best sold works similar ones that are in meaning private, corporate or institutional collections, ones that have won awards or been exhibited, ones that have been written near, ones that have been illustrated on websites or publications, etc. These accomplishments may also be in your resume but pairing them with images in a "Past Works" gallery is too not bad way to go the indicate across; you could almost telephone call it a visual resume. Flaunt your past sales; don't ignore them.
No matter where you sell your fine art, make sure it's priced and that people can run into the prices. ALWAYS have price data about your art bachelor for anyone to run into. Don't brand them ask. Don't make them email. Don't make them call. Non pricing your art and making people ask is a game. Here's how it'southward played... "Yous tell me which 1 you lot similar the virtually. And so I endeavour to figure out how much yous like information technology and how badly you desire it. Then I look at your shoes or your email accost or your online profile or your area code, and try to effigy out how much y'all can afford. Then I cost it as loftier every bit I think I possibly tin." This is why many people are hesitant to ask prices. Or they're worried nearly stuff like being pressured to purchase, finding the fine art is costs more than they tin afford, existence put on email lists or having their emails sold or shared, etc. Having to ask prices turns many people off; they feel much more comfortable contacting you lot when they know how much you charge.
Pricing your art also protects you from having to field unanticipated questions, especially if you're not comfy talking about money. Suppose, for example, someone asks a price and you're not certain what to charge, so you start fumbling around. "Oh... that one," you say. "You similar that i? Hmmm. Permit me run into, I haven't thought most selling that 1 before... I really like information technology though; information technology's one of my favorites. I would accept thought you'd like this one." And on and on you go, unable or unprepared or hesitating to respond as the asker makes a beeline for the door. Let people come across your prices beginning, retrieve them over and decide whether they tin afford your $500 painting or $1000 sculpture. That makes it much easier to decide whether they want to buy. If it's a go, they'll make contact and start up a conversation.
Let'due south say you've been selling art for a while and are thinking almost raising your prices. Should you? Proficient times to raise prices are when your art sells regularly, you've been selling consistently for at least half dozen months to a yr, preferably longer, you lot accept a show where at least half of your fine art sells, or you're selling at least half of your art within several months or so afterward you make it. If sales are good, demand is high and your art is moving like that, raise prices x-25%, closer to the 10% if you lot are consistently selling well, closer to 25% if you reach some sort of major career milestone like getting a significant museum show or receiving a prestigious laurels.
Be able to justify all toll increases with facts. Don't raise prices arbitrarily based on how you feel, on what some other creative person does or because you think your prices have been the same long plenty. Always have a adept reason. And be careful not to amerce your collector base by getting too expensive to fast; always remember those faithful fans who've been buying your art and supporting you the longest. Never cost them out of your market place.
OK. We're done. You've got your art priced and you're prepare to sell. Only can you lot reply the big question: "Why is this ane priced at $2000?" When someone asks y'all about a cost, practice exactly what the galleries do. Show that you've been regularly selling comparable fine art for dollar amounts comparable to what yous're charging for the art they're asking almost. Talk about sales you've fabricated through dealers, galleries, online or straight out of your studio. The more than like sales you can talk about, the better your chances of convincing the asker that $2000 is a fair price to pay for the fine art and that they're getting their coin'southward worth.
People want evidence; they want to experience confident nearly spending nonetheless much money they're most to spend. They want to sympathize what they're getting in exchange for their greenbacks, and feel like they have some degree of control over the situation. This is especially true for buyers on the fence who don't know your work that well or who haven't bought a lot of art and are just starting out. So support your prices with facts. People care about how they spend their money-- they want to feel like they're spending it wisely. Show them they're doing the right thing, that your art is worth what you're selling it for, that other people buy information technology, and that its OK for them to buy it too.
Still not certain how to price your fine art? Artists hire me for toll consults all the time (usually only costs $75). Not only exercise I price your art, simply I also tell you how to explain your prices to potential buyers in linguistic communication they can understand and capeesh. People who understand your prices and see the value in your work buy more art than those who don't. It'south just that simple. Desire to brand an appointment? Call me at 415.931.7875 or email alanb@artbusiness.com.
Source: https://www.artbusiness.com/artists-how-to-price-your-art-for-sale.html
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