Here is a simple method to capture social media traffic and convert it into email leads. In this video I show you how to make landing pages and to capture leads from an offer to your social media followers. It’s passive, fire and forget. It should take you no more than an hour to implement this tool. Since I created this three weeks ago it has already captured over 120 emails.
The following is a strategy for how I tend to execute on Facebook and Instagram ads during my promotion. You can apply this to any type of advertising on social but this guide was made regarding the Giveaway. The goal is simple,: to attract visitors from Facebook and Instagram to register for the give away and to purchase art from the promotion.
Map it out.
When it comes to Facebook Advertising, you can make your strategy EXTREMELY dynamic and detailed, but it’s best to begin by keeping it simple and straightforward.
A few things to keep in mind:
TARGETING is responsible for 90% of your success. Find the Right audiences first
Campaign Objectives for the Giveaway is: Website Conversions
Make sure to always have your Pixel setup
The #1 metric to track is “Cost per Conversion
If you didn’t know already, “copy” is there term used for the text that accompanies your posts.
I don’t have a specific formula for ad copy but I do have some suggestions. These posts are not story posts, just like on your sales page and in your emails, you want to get to the point quickly and you want the link to what ever you sharing, be it to your sales page or your giveaway, to be inside the first four or five lines of text.
Facebook image Ad dimensions: 1200 x 292
Instagram image Ad dimensions: 1080 x 1080
What makes a good ad visual
If you’re selling a piece of art, show the product, not the artwork. By that I mean, show what the people will be winning and/or buying. Showing a digital image of your art (be it a photograph or a painting) is not the same thing as showing the artwork as a product. The product makes it real.
Also, identify with your customers and speak to their needs.
Pro Tip: I did not print these posters to take this photograph. I held a piece of blank foam core then added the digital image of the post on top if it. What was the cost of making this ad image? $0.
Promote/boost what works. When you begin posting about your giveaway, try a few different captions and styles. The one that gets the most attention is the one that you should begin paid advertising with.
For each visual you create you will create 3 versions of it.
Horizontal for facebook
Horizontal 4:5 ratio for instagram
vertical 4:5 ratio for Instagram & Facebook
If you include copy on your images do not allow more than 20% of your image to be covered in Text. You can us Facebook’s Text Overlay Tool.
Create videos that are no longer than 60s
The first 10 seconds of your video are extremely important. Do something in this brief moment that captures the attention of the view and holds it long enough to deliver the bulk of your message
Create multiple versions of each video.
Horizontal and vertical for facebook.
vertical version for instagram.
15 second version stories on both instagram and facebook
This is the number of times I went live or posted a video during my giveaway
Going live allows Facebook/Instagram to notify your followers that you are available and gives people who are interested in your work an opportunity to participate in your event. It allows them to get to know you and each particular piece of art and provides the opportunity for you listen to the objections of prospective buyers and address them, both live and in your future copy.
Video is more effective than photos to capture attention. The first 3 seconds and the first 10 seconds are key to capturing attention long enough to express the reason for the video and to hook the audience. Plan your first three seconds with high-energy or a strong visual aide to capture attention. You can go to the video tab on www.facebook.com/jasonmatiasphotography to watch any of these videos and emulate/improve on their delivery.
Pro Tip: If you’re doing your giveaway during Christmas, include wrapped presents in your content and gift giving in your context.
Pro Tip #2: Have subtitles hard coded into all of your videos. Not everyone can watch your content with sound on. However, closed captioning disappears when you open a video on facebook and youtube. If you hardcode your subtitles into your video, then they won’t go away when you open the video up. I recommend making your captions black letters a white backdrop. The reverse is difficult to read. I use rev.com to get captions written for my videos.
Putting it all together
Hopefully you have watched my two videos on setting up your facebook pixel and creating custom audiences. The video below will walk you though setting up the marketing of your post on Facebook and Instagram.
Understanding how your ad is performing
Now that you’ve begun spending your money on ads you need to pay close attention to them. Speaking (writing) frankly, you’ll know which ads are performing well and which are performing poorly. In case you aren’t sure, FB has some metrics that can help you understand your ads’ performance.
The chief tool for understanding your ad performance is CTR or Click Through Rate. This is the percentage of people who have viewed your ad that have clicked on the link included with it. The average CTR on Facebook across all industries is 0.90%, which is a pretty low bar. Here you can see some of my click through rates and you can make inferences on them when compared to other metrics, such as reach. More on that in a moment.
The second most useful tool for understanding ad performance is Cost per Result. This measures how much you’re spending on each of the measurable results. As you can see, the first ad had people clicking on a land page and it cost me $0.42 per click. The second had people going to my Messenger. Only one person actually sent me a message, so the cost of that message was $19.48! That might seem like a lot, and it truly was an ineffective ad, but if that messages landed me a new client at $500 then it’s totally worth it. It didn’t, just being honest.
Use these two metrics to objectively gauge whether your ad is making the impact you want. What do you do if it’s not? - Make adjustments. Tweak the language or “copy” that goes with your post to more clearly state your intention. Try another visual or make a video to attract more interaction and follow through.
You have to test.
You have to test.
You have to test.
What does that mean? That means you have to create your ads then to commit to a healthy ad spend to discover if they work or not? You should spend at least $10/day for three or more days to gauge how your ads are developing.
Facebook & Instagram Live
Facebook and Instagram Live should be an integral part of your giveaway. Why?
Because it gives your audience an opportunity to get to know who they are buying artwork from.
It give you an opportunity to share the story of each of the artworks. (You can pick a few or a single piece to explain/share at a time.)
It gives people an opportunity to ask you questions.
It increases the visibility of you page
When ever you go LIVE, Facebook TELLS everyone, giving you an opportunity to show up in people’s news feed when you otherwise would not have.
Tips for Live Calls
Have an agenda. Don’t go on and wing it- you want to be able to steer the conversation
Have a great story to share
Use a messenger bot to get people to sign up for your broadcast lists.
Come prepared with talking points
Allow a few minutes in the beginning of the video for people to show up. Use this time to thank future viewers for watching the replay.
Put a hook in the beginning of the video to incentivize people to interact with you and stay until the end.
Have questions for the audience that are easy to answer. Their engagement will increase the views.
Don’t be afraid to leave the chat.
Have a great visual space behind you so that the video is less visually boring.
Do you live calls at different times so that more people can be live with you.
Use the Audiences you acquire to build your reach
This is an easy but essential step toward maximizing your online presence and the traffic that comes to it. You can create create audiences so specific as to reach the people whom already subscribe to your emails on social media or broaden that audience by adding to it people who behave just like those who have already given you their attention.
The Facebook Pixel is the lynchpin to all your marketing efforts via social media.
When it comes to business, if it’s not measurable, it’s not working for you. The key to measuring your ad performance on social media is to install tracking code into your website. In this instance, we are installing the FB Pixel. Download the PDF guide for this if watching video’s isn’t your thing.
My suggestion is to get this done as soon as possible, no matter what your goals are for your business. The more data you collect the easier and more effective your marketing efforts will in the future.
Using the pixel for advertising
Before we talk about the Facebook Pixel’s benefits for advertising it is important to note that these benefits increase the longer the Pixel is on your site. Many businesses assume that Facebook only collects information based on the people that enter your site via Facebook ads- this assumption is incorrect! Facebook collects information on every person that comes to your site, every person that becomes a lead, converts, or adds anything to their cart. This means that the longer the Pixel is on your site the more information Facebook will collect, so don’t wait, get your Pixel on your site ASAP!
Benefit 1: Conversion Tracking
First, let’s talk about the obvious bonuses of having a Facebook Pixel on your website. If you place the conversion Pixel on correctly, and run ads for conversions, Facebook will register what type of people are converting, which devices convert best, what time of day the ads convert, and which ads convert best.
If you are running an ad with the goal of having people sign up to your email list, if your Pixel is setup incorrectly Facebook will have no idea who is converting, or if anyone is actually converting. As a result, they will be unable to optimize the ads to get you more conversions. This results in Facebook advertising blindly to your entire audience and, ultimately, to your losing money.
In fact, if your Pixel doesn’t get a minimum of 20 conversions on a daily basis, Facebook will assume that something is wrong and will slow down the ad speed so that you DON’T lose money. As such, simply having your conversion Pixel on your “Thank You” page will save you money by allowing Facebook to understand how your ad campaign is performing.
Benefit 2: Retargeting
A huge portion of online marketing that a majority of businesses disregard is retargeting. It is inconceivable to consider that the majority of companies spend masses of money acquiring new customers as opposed to putting a budget into remarketing to existing customers. In comparison to a customer who has already gone through the process of learning about your brand, joining your email list, getting the free trial, and actually buying your product an individual who is currently unfamiliar with your company, is less likely to convert. So, as a business, you MUST retarget to your existing audience, unless you enjoy literally flushing money down the toilet.
With the Pixel installed on your site you can do more than just target people who visit your site. You can create different ad sets to target specific individuals based on how connected they are to your business. If someone has come to your site, whether or not they came through an ad, but he or she hasn’t given their email address, you can retarget by simply creating an ad setup in your Facebook ad campaign targeting website visitors excluding people who have already signed up. There is an example of this on the next page.
You can create this same type of targeting for people who have become leads; but have not yet added anything to cart, or someone who added to cart; but hasn’t yet bought in your store. This allows each ad to reach its target audience exactly where they are in your marketing funnel. Then Facebook will automatically move them over to the next set of ads as the customer progresses. This makes it so the customer is not shown the same ad after they convert.
Benefit 3: Lookalikes
Besides its abilities of tracking individuals who have converted and targeting your existing followers the Pixel can also target audiences that are similar to your audience. Many businesses struggle to create a persona, or identity, for their “best audience”, as they do not know who their “best audience” is. Imagine if, with three clicks of a mouse, Facebook could analyze your current audience and find individuals who behave similarly, imagine if you could find and target 2,000,000 individuals in America similar to your app’s users?
Lookalikes targeting allows you to target individuals you would never have considered, or found, otherwise by tapping into Facebook’s database.
What’s great about Lookalike Audiences is that you can create an audience to match individuals at different phases in your funnel. So you can create one that is similar to your email subscribers, one that that is similar to your paying customers, and one that is similar to your most active app users. As long as you can create an audience within Facebook you can use that data to create a Lookalike Audience as well.
The Organic Advantages of Facebook pixel
When most articles discuss the power of the Facebook Pixel they talk about it from the advertising side, but the organic power of the Pixel alone is a compelling argument to place the Pixel on your site. The reason why most people don’t talk about these benefits is because they simply don’t know that they exist.
Another benefit of the Pixel is that it gives Facebook the ability to understand the traffic on your site. Facebook uses this information to discern what types of individuals are viewing your site, how long they stay on a specific page, how often people convert, etc.
Since the Pixel is present on every page of your site Facebook can track which pages:
a) Get the most traffic.
b) Lead to the most conversions.
c) Are shared.
Using this information Facebook gives your site, and each individual page on it, an overall ranking based on the information that is collected. This ranking has a large impact when someone shares your site to Facebook because this ranking determines whether Facebook will show the post to the individual’s followers.
As a result, Facebook becomes aware of your site’s regular visitors and as such is able to increase the ranking of your links leading to more reach.
Let’s say someone liked your page months ago but has not shown much interest in your posts or site recently. It is likely that this probably resulted in Facebook removing your content from that individual’s Newsfeed. But if they landed on your site today, and your site was equipped with Pixel, Facebook would automatically begin showing them your posts again. This means that even if people are routed to your site via your email newsletters the Pixel will recognize their renewed interested in your business, leading to Facebook sending them your next few posts.
But it doesn’t stop there! If Facebook sees a large interest in your site they will want to give your content additional reach. So posts linking to your site (including your own posts) will get more organic reach.
This is an amazing way to boost your organic traffic. And the best part? This all happens without your ever having to spend money for reach on Facebook.
The Seven Principles of Marketing/Messaging
This is the webinar about marketing and messaging from the February launch. This is a conversation on the fundamentals of purposeful conversation. The purpose being to create an environment and relationship that leads to sales (or accomplishing your goals). From these fundamentals does the marketing message begin.
The meat of the webinar starts at 22.41.
There is so much more to this conversation about these topics. Is this something you want to know more about? Let me know (after you’ve watched this) by leaving feedback in the comments section and/or the facebook group.
Creating in-home renders to impress and market your work.
Creating realistic renders of your artwork in a home or furnished setting is an excellent way to establish the beauty and application of your artwork. This tutorial shows you how to make renders like the ones I have on my website to illustrate your own artwork.
Yes, there are apps that do this for you but they don’t look realistic or believable. They look like cheap, cookie cut renders.
This is a great option to create higher quality representations of your work.
Don’t forget to check out the video on using Augmented Reality to facilitate the process for art sales.
I’m already yawning just thinking about this. It is good stuff though, and you have spare time you can do a lot less effective things for your business.
So, here’s the deal - you can add your website to these citation sites to create profiles for your business. These profiles will include links back to you. The following sites have a lot of “oomph” or weight and legitimacy on google. They will lend some of that weight and legitimacy to your site and help you rank higher. Some of these cost money, others are free.
Also, if you have a physical space- even just a showroom in your home like I do, you want to add yourself to Google Maps and Google My Business
Once you’ve made it through that- you can begin hammering out the following list. You might want a box of tissues because this list will make you cry…
This is a list of sites you can add your website to in order to create backlinks.
I put this together for you because I put it together for myself. So, when you get 1/4 of the way through this and run out of tissues, remember that I have been doing this too and you’re not alone.
4TH QUARTER HAS ALREADY BEGUN
This year, I’m going to do one of those things that I hate doing- a sale.
Well, not really, I’m going to sell some art work at a vastly lower price point, not discount my current portfolio.
My strategy is to build up the sale in four parts. Five, really, but four are shared here and the fifth in a an upcoming episode.
This is a strategy that you can plug your own content into and send out to the world.
Getting Published is One Of The Best Tools
in your arsenal. You, however, are a blade of hay in a giant haystack. Even if you are amazeballs, getting found is a shot in the dark unless you have a strategy for being chosen.
The strategy is pretty simple: go out and find the people that you want to find you. I’d even go as far as to write the article for them,. At least to make it as easy for them as possible.
This episode talks about all that.
**The video on me is a hair blurry. I’ll record another example of getting published when I have better lights. You’re not here to see my, though. This info is golden.
You may also want to watch this episode on RocketReach
Welcome to the The Art of Selling Art. My name is Jason, and today we're going to talk about getting published in magazines and online publications and things like that. This is a fun topic for me. I think this is a challenge that I like to undertake every now and again, getting my work featured, and if you look at it as a challenge and a game, then perhaps you can win it for yourself.
Now, if you haven't already, please join the Facebook group, The Art of Selling Art. It's a great place to find all the content I'm putting out, but it's also, you can invite some of the artists that you know that might benefit from this discussion, and there is also the The Art of Selling Art on Instagram. It's there, and I'd love to have you.
All right. Now that that's out of the way, getting published in magazines or online magazines is a great way to get your name out there, and get your work some recognition. Every time you get published in one of these things, you can put that on your resume and when a potential collector comes and looks at your About section ... you know what? Let me show you mine. When a collector comes and reads about you, you can have all of this information published online, published in print, right there on your website, and that adds to your credibility, adds to your likeability, and just the overall aesthetic of who you are. Getting published is an important part of your whole art business.
How do we do it? There is thousands and thousands of artists trying to do what you're about to do. Well, maybe not exactly how you're going to do it. Trying to get a presence on the site here, the competition is very huge. I have a hack that I go through to get noticed. It is not fool proof, and it's not fast although it can be depending on your presentation, but I'm going to show you how to do it. Okay, here we have PetaPixel. PetaPixel by its articles, a lot of stuff on equipment. Here's something touching about a proposal. I swear, it's going to be so hard to propose to my girlfriend whenever that time comes. Anyway, you need to get noticed by the people who write on PetaPixel, and you want to create a relationship with them in order to be able to share your work with them and be recognized.
Now, browsing through PetaPixel, you can see there's only a few writers, Michael Zhang and Bill Manning and Chad Davies. You can go to LinkedIn and look those people up. Before we do that though, I went over to contact just to see what kind of contact information they have because they do have an editor, and I want to see how to get in touch with that editor, and going to their About page I found that Michael Zhang is the Founder and the Editor-in-Chief, so what you want to do if you want to get your ideas noticed is you can submit them on the Send a Tip link, but you also want to reach out directly to this guy.
You want to go around the dozens and hundreds of tips that they get a week, and say hello to him. What I did was I looked up Michael Zhang on LinkedIn, and I found here on Entrepreneur, San Francisco Bay area, Founder and Editor, California, lives in San Francisco, and then I took that over to RocketReach.
So, let's go on. Let's apply this same tactic to Fstoppers. Fstoppers is a lot easier to get through. You can see that they have an article written by a person, and you can click on this writer, and you end up on a bio with some links on where to reach him. In this case, you have Tim's website and his Facebook and his Instagram has 500 picks, and that's it. You can find his email on his website. He's a staff writer, and when you have a pitch, you can very simply just say, "Hey, I have a pitch." Here he is on Instagram, and he's a staff writer and thousands of people saw these articles that he has written, but if you go directly to his social media, it's not a huge following.
It's very easy to create a relationship with writers on their social media, especially on Twitter because they don't have huge hundred thousand person followings. They're just regular people who do a bit of writing and you create a relationship and then you can pitch an idea at some point down the road. Another great thing about Fstoppers is if you scroll all the way to the bottom in their footer, they have right here, "Meet the Writers." And then you can scroll through and find a writer who writes about the same kind of content you produce, and then introduce them to your idea. Introduce them to your work and say, "Hey, can we work together to create an article for Fstoppers?" And that's how you do it.
Following this same vein, we're just going to repeat this a few times until you believe that this is how you do it. Here is another example if you are a fashion portrait photographer. This is i-D Magazine, and I scrolled through and clicked on a article. These ones are all written by Hannah Ongley. Then I went to LinkedIn and then I went to RocketReach, and I typed in Hannah Ongley and there you go. There she is right there and all of these available contacts for her, vice.com., Gmail. And you can write her directly with the work that you want to get published, and you can also look her up and find her Facebook and whatnot, create a relationship. The world gets bigger and bigger, and there's more and more people trying to do more and more things, and work has always been about relationships. Progress has always been about relationships. Getting published has always been about relationships. So, you need to find the people you need to have relationships with and network with them. This is online networking but focused with a laser.
Okay, let's look at another. Actually, AnOther. Here is another magazine. Jack Moss is the Deputy Digital Editor at AnOther magazine. When I went to look him up on RocketReach and LinkedIn, I couldn't find him. That happens from time to time. There's likely very many Jack Mosses. Instead of giving up and looking for someone else, I went to LinkedIn and typed in AnOther Magazine. I looked for the company, AnOther Magazine, and what happened was they're on LinkedIn as a company, and it showed me that they have 29 employees. Their company is on LinkedIn registered. You can go right here, click on their employees on LinkedIn, and find the person you need to talk to. Then you can take that link over to RocketReach and get an email for them. Or, you can connect with them on LinkedIn, and create a relationship there.
Okay, so we're doing the same thing over and over, and I realize I was kind of repetitive but I wanted to show you that this strategy works over and over. It works no matter the application, Fstoppers, AnOther Magazine, PetaPixel. The point is you need to find the people who are doing the writing and then create a relationship with them. When I say create a relationship, I mean business networking. Create a working relationship with them. Then, when you have a well put-together idea, you pitch it to the writer, and the writer says, "That's great," or the writer says, "It's not great," and then you move on. You refine the idea, and you pitch it again or you pitch it to someone else.
Make sure that you find the person who is most likely or who's articles are most in line with what you do and what you want to do. If you want to go to a Black and White Magazine and share pictures of cityscapes, then you need to go to the writer who writes mostly about architectural black and white images. Then you pitch them a body of your work.
That's all. I hope that didn't seem overly simplified. The relationship building part is the real difficult part once you know how to find the person you need to speak to. If you have any questions about this or you need anything clarified, please go ahead and put that question in the comments. Let me know how this process works for you. Post your first published or your next published article in the Facebook group and share a little bit of your success with everyone. Cheers. We'll talk to you about selling art soon.
If you plan on putting your work on the behemoth art gallery websites you need a strategy for getting found
In previous TASA videos, I have not spoken highly of the big art websites. I don't actually HATE them. I just think that they mislead artists into believing that their art will somehow find collectors simply by said galleries placing it within (and on) their walls.
That's not true.
Generally speaking, the only person bringing collectors to your work is you.
What we need is to give ourselves a chance at getting on the front page or an opportunity to appear on the blog. Or, even better, in an email to the subscribers of said website.
Inside is one strategy for getting your work in front of the right eyes.
The work begins AFTER you've gotten the sale.
You might think that you've got the big win after you close a sale but that is where the work of getting the most return on your effort and investments begins. Your best new collectors are your prior collectors. However, you need a strategy for reaching out to them. Patience and tradecraft are your assets here. Take a look at how I increased sales from Redmond Art Festival from $23,000 to $25,500 and on to $31,500.
After I finished this video, I called Doug. Doug is a collector of mine in Las Vegas who owns Solitude, Ice Cave With A View, and Moon Over Mt Baker. We've talked about Tree of Fire multiple times and, emboldened, I gave him a call and pitched the one behind my desk to him.
Like I always say, The Art Of Selling Art takes place at the practical level. It takes place at the application level. We had a conversation and Doug is going to collect Tree of Fire using ArtMoney.
This is turning out to be a good month.
- - Welcome to the Art of Selling Art. My name is Jason. And today we're talking about what happens after you've gotten the sale. Now a lot of people think and I used to when I started that once you get the sale, it's off to the next kill. Wash your hands, rinse, repeat, and go ahead and get the person at the door. You're not entirely wrong. However, my argument is that you are leaving a lot of money on the table. And my goal today with this installment is to help you take more of that money off that table. Help you bulletproof your career going forward. And help you set yourself up for success.
Let's add a little bit of context. This is about a month and a half after the Redmond Art Festival. And if you watch the complete guide to Art Festivals or Art Fairs rather that I sold four large pieces at the show and two of them had to be produced and delivered later. So for me, it takes about 30 days to produce a new piece of work, get it shipped, and delivered. And in this case, I had the opportunity to install it myself into the collector's home. And with that installation, I was able to create a follow on sale and this is what it looks like.
So this was Redmond Art Festival. And this was the piece that needed to be produced. And then this was the piece I was able to add to the sale once I was there in front of the collectors again. So there's a look the collector with the new piece. And this is the original piece that we installed. And it was a major large piece. 72 inches so not exceptionally huge. However, installing it in this location was actually a challenge. It was in as stairwell that, it goes up and then it turns around and goes back so it was a very narrow space to work in for such a large piece. And is also a very unique space that needed the right piece of art and thankfully, they found mine and they loved it. I wanna talk about that process. I wanna talk about the process of getting follow on sales both in situations like this where you actually get to have a communication in person with the collector. And also when you're doing it via email cause someone bought it online and you shipped it there to them and you don't get to see them again.
Okay, let's take another step back, add a little bit more context. There are three ways to make money selling art. Now I'm talking about selling limited editions and original editions and things like that. I'm not talking about licensing and all the other ancillary ways to earn money from your work. The first way we talked about, that's finding new customers, getting them on the door, and getting sale. Okay, that's what all of us are doing everyday. That's the grind, it's Facebook, it's Instagram, it is ads on social media, Snapchat, Google AdWords, email campaigns, it's all of that. It takes a lot of time and it takes a lot of money and of course money is time so there's a double whammy. Way number two is to get a greater return on your initial sale. So that means adding a second piece at the point of sale or increasing your price in general to get a greater return on your investment. And then way number three is this, this is what we are talking about today. It is gaining an extra sale, a little bit more of ROI from the collectors whom you already have. Now these are people who you already went through process number one with. You already spent all that money and time and now you have their information, you own it, and anything you get from here on end is basically free. So it's really important that you can capitalize on this. Also, there is some great articles on there about bulletproofing your career. And that's kind of why I have that term stuck in my head. But 100 collectors, 100 collectors could bulletproof your career going forward for the next decade or two. That's people who every year or two, buy a piece of your work. And you have a 100 of those in rotation, you can make an income. You can make a living wage and you can be a professional artist.
Alright, so way number three, you've got the sale, what do you do next? Let me go over quickly what happened with Michelle and Mark and then I'll go over a bit of a general way of, you can approach this using email and the phone or however you're communicating with your collectors. Michelle and Mark ordered this piece. It needed to be delivered. That means I had about 30 days of a gap between their purchase and their installation. Now whenever someone buys a piece of art from me, I say, "Hey you can take 15% off your next piece of art. Anything else you buy from me for the next three months, the next quarter." We're talking about why three months and why 15% in a little bit. But I gave that spill to Michelle and Mark as I give it to everyone at art shows. But I had the opportunity to do because the piece has been delivered was I was able to stay in touch with Michelle and Mark during that 30 day interval. So give them updates and say, hey your piece is being produced right now, here's a picture from the printer. And hey, we just packed your artwork. Let's, you know, it's gonna take... Here's a shipping number and it's gonna take x amount of time to get there. And I'll keep you updated on shipping notifications.
During those communiques, I was able to put in a little hints about, here's my catalog for your next piece. Now at the show, I manage to bring on the second day that piece, it's called Survivor. And Michelle really took a liking to it. So there's a little bit of luck involved in this. She really loved this piece. And what I was able to do is say, "Hey, I still have this piece, would you like me to bring it when I install, Multnomah Falls?" And she said, "Yes, please do." So I brought it then we did the install and it was there, we actually hung it in her office. And she was enthusiastic about it. And her husband loved that she was enthusiastic about it. And I managed to get this follow on sale for 2,500. So that's $2,500 for the sale. The actual piece is 28 something so minus the 15%, this was their discount and this discount was what pushed kind of Mark into the, okay I'm gonna get it category because now is the best time, now is my best opportunity to get this at the best price. And that's how that sale went.
Now I have a whole another second going on. And this one is involving augmented reality. So if you've done your diligence and if you've watched the augmented reality video which is also a part of the complete guide to art fairs. I have this one collector. He bought this piece called Her and had it installed and then he's been using the augmented reality and we've been going back and forth, this time in text messages, because remember I said, get their phone numbers, about a piece for his, this big empty wall that he has in kind of den area. Now they've settled on this. They actually came to one of my other art shows to talk about the piece. So they settled and this is just a sale waiting to happen. Here is an example of the quote that I gave them. And this is the format of quotes that I provide, all of my potential collectors. And I will post this into the group. Feel free to use this. Customize it, put it, make it to taste, and add your own voice, and send it out to whoever. I think it's such a really great format. It shows the piece, the size, the frame, and what not. And it also includes their 15% discount so that they can collect this piece for essentially a thousand dollars off, plus tax of course. And this is another thing we're working on. What I'm showing you here, what I'm trying to illustrate is that your best future collectors are your prior collectors. They've already qualified as buyers, they already love your work. You just have to help them see the benefits of this discount and help them find the piece of work that they love most.
Okay so you got the sale. Okay perhaps it didn't happen online. But it happened and... Or perhaps it didn't happen in person and it happened online, how do you engineer this process? I have two emails here that you are going to copy and customize. Make sure you keep the main elements of what we are about to discuss. Now this goes on with the few assumptions. First, that they've already purchased the work and that has already been delivered. So your first email will look something like this. You say, "Hey Mark, I saw you received your artwork a few days ago, and I just wanted to check in with you and make sure everything is in good order. Do you love it? Is it hanging in your home yet?" Now it's a really simple email. So few important things to take from this when you're making your own email. First, you wanna make sure that everything is good. Okay you're asking about their buyer experience. Everything from buying the work to being on the website to getting the work into their homes in the mail. So you wanna know if they came in damaged. You wanna know if they had a good buying experience. And they might say, "No I hated it. We went to your art festival, we sat in your both for 20 minutes waiting to talk to you." Or something to that fact, if any negative, neutral to negative response to this email about their... About everything being in good order, you have to take care of that before you move forward. Okay but let's assume everything went great. They got the work, it's in good shape. They love it. Okay so you ask them, "Hey do you love it?" That's just an affirmation. And then, "Is it hanging in your home yet?" And what you really want is a picture from them, so you can show it to your own social media, to your own potential collectors. "Hey here's what my work looks like hanging in someone's home." "And here's a picture of a happy customer." A selfie works really awesome in this situation. A selfie with your artwork, a picture of the artwork hanging in their living room. Alright, that is what you want here. So you're gonna get a response to this email and like I said, it's gonna be neutral or positive or negative. But you're looking for positive. And that email will be something like, "Jason, we love love love the work. It's hanging in our living room. Here's a picture. We're really really excited about it. Thank you for helping us complete our home." "Great, that's great Mark. I love the way she looks on your wall. Thank you so much for all the kind words and collecting my work. Your patronage means a lot to me." Okay it really does. They are supporting your career so say so. "Hey if I didn't mention at the show slash on the website, email, whatever. I always extend a 15% off of my work to my prior collectors. It is my way of saying thank you and helping you find a companion piece to your space, for your space, or for your office, etc. No pressure at all. The discount/special whatever you want to call it is good for the next x number of months. I'll send you a note nearer to the end of the sale period. Enjoy the rest of summer, winter, fall, whatever. Cheers, Jason." Now some important things that you wanna include in this followup email, the second followup email. You know you gonna customize this but these are the important things. First, you wanna say, thank you for your patronage. That's really important. Be thankful, be the appreciative artist. Second, you include the discount. Now there's a lot of talk about discounts and what amount is good.
In my personal preference, I feel that anything over 20% is starting to devalue the work itself. And I don't discount over 20% unless I'm really trying to get rid of something. So in this case, this is not a pressure scenario, so I say 15% off and that's pretty much the max that I give anyone. So 15% off my work for the collectors for x number of months. Now that's important because you don't wanna give them a blanket, you're a prior collector, boom 15% off for the rest our relationship, my career, or whatever. That's, one, is bad for business but two, you need to introduce scarcity to make them want to buy it. The hunters, the people who are looking at Edge of Solace in that big wall over their couch, they want to take advantage of their 15% off before it runs out. They said that multiple times. So you want to introduce scarcity and you want to give them a decent amount of time to be able to sit and enjoy the work, share the work with their friends, and get some feedback from the people whom they love, the people who visit about the artwork that they have in their home now. So you want to give them two to three months. I do three months, it's one quarter. You know, and I'm always thinking in business terms, so it's one quarter of the business year. So three months is my term. You can do two months, you can do one month after they receive the artwork. It's all up to you. Another factor that goes into this percentage discount as well as this time for me as my price work, is my price point is quite high for my artwork. So will also want to give my collectors a chance to absorb the amount of money they just dropped on me and kind of replenish the coffers a little bit before they have to go in and make a gut choice on ordering another piece of artwork. So that's what goes into that. Now the third thing that's really important is this email, is that the last sentence. "I will send you a note nearer to the end of the sale period. I am going to email you." You are telling them that you are going to email them. You're letting them know that you are going to show up in their email box. In essence, you are giving yourself permission to email them again. Now throughout this process, chances are that you've developed a friendship, a kinship with your collector. And you don't really need permission. However, adding that little bit lets them know that one, this thing is gonna end, and two, you're gonna reach out to them about it so that there's no surprise and no salesy feeling when you're like, "Hey it's over in two weeks, I just wanted to see how you feel about x, y, and z. You know, here's a new piece of art that I did or here is a piece of art that I think that goes with the one you collected." Yada yada yada... You're letting them know that the communication is going to continue and that's important. It's actually a good tactic for you to use in all your emails whenever you are writing to a new contact or working on a networking person that you just met. "Hey I'm going to email you again. Let's continue this conversation." Okay, so you got the sale. You followed up, make sure everything was good. You got some photo for your social media. And potentially you have landed a second or third sale with this collector.
You're still not done. There's still more for you to do to secure your future going on. This next one may feel even more difficult for you to do. But I promise you it is okay for you to do. And that is to ask for a referral. After this process is complete, and you have gotten a sale or they politely declined, the next step is for you to send them a note perhaps in a week or two if they declined or perhaps in a month or two after they've received their new piece of art and been happy and enjoyed it. You could say, "Hey Mark, thank you again for being a collector. Would you mind introducing me to someone who you feel could really enjoy my work or has a place for my work or has an office whatever." The point is that your collector likely knows other people with the same thoughts, the same mentality, and the same budget to be able to buy some of your work. The reason they haven't referred you up to this point is because they just haven't thought about it. There was a really good article published in New York Times about a week ago about asking for help. And the gist of the article was that, people want to help you. They just don't know that you need help. And they don't know that they can help you until you ask. Asking is the important part of this whole process. Asking is the key. Otherwise, everyone's busy. Their minds are on other things. And they just haven't thought that, hey let me introduce this artist to other people. You need to do the asking. And in general, I think it's nine times out of 10 or nine times out of 11, you're gonna get a positive response and they'll say, "Yeah let me think about it." Or, "Yeah let me introduce you to my neighbor Bill or my friend Mark who has just purchased a new house." Or, "I just went to Susie's house and oh her walls are bare. She needs you in her life." Your collectors are willing and happy to do this. They just have to be allowed to and you allow them by asking. So that is thing number four.
Now, number five is a stretch so bare with me here. This is something that I just started. This is an idea that was pulled out of an incubator that I went to the other day. And we were talking about our businesses and strategies with the bunch of other entrepreneurs, not necessarily artist. But the group got together and they're like, "Hey why don't you start a private Facebook group or private group in general where you share your intimate goings on in your business with the people who collected your work." So these are intimate details of your business only for the people who have collected your artwork in the past and they're interested in your career. So what I did is I created a private Facebook group called Jason Matias's Collectors Only. And I literally did this like a day before I recorded this video. And I'm going to populate it with the people who have collected my work in the past. And the idea is to give them a window, a privilege window that they've earned by collecting my work, into the future of my business and the things I'm trying to do and the things I done and things like that. And that is just a way of adding value to the people who have collected your work cause they're interest is in you. They like you and they like your artwork. And you've got to put two those together and create something of value for them. So that is yet again another that you can do after the sale to create value for your collectors and through a medium like that, you can ask for investments, you can ask for patronage outside of collecting the artwork, for funding future projects, or funding future shows. And that's a really key aspect of having collectors and having patrons.
So recap, you finished the sale and you are not done. You want to followup and you wanna go for a second sale because your collectors, your prior collectors are your best future collectors. Then you wanna ask for the referral and then you wanna create something of value that gives your collectors a window into your artistic career and how they can be a part of it. If you have any questions about this whole process, I know I talk kinda fast and I got the New York accent. So feel free to put it in the comments, send me an email, or drop your questions in the Facebook group so that everybody can learn from your experiences. If you have some success doing this, please go ahead and post that in the Facebook group so we can share it so we can all learn together, right, we all grow together. I keep saying it over and over. Let's do it. Thank you for your time. And thank you for both believing in me and what I do and believing in yourself and taking these huge steps toward bulletproofing your career. I will talk to you in the next video, cheers.
Why can't I just stick to the script, Aubrey - [Caller] Hey sorry, I forgot you are recording. Do you like Reese's Puffs? - No I hate Reese's. - [Caller] What kind of cereal do you want? - How about Lucky Charms? - [Caller] Lucky Charms, okay, I will get you Lucky Charms. - Cause I'm five years old. Do you?
ClosING Art Sales using augmented reality: WHEN CLIENTS can picture it on their wall, you can picture the sale.
This segment is part of my Complete Guide to an Awesome Art Fair. I'm so excited about it that I'm getting the word out to you now.
3 words: best. tool. ever.
Using Augmented Reality, potential clients can project YOUR artwork on THEIR walls.
When your client says, "I'm not sure if it will fit with my decor..." you've got an answer for that.
When your client says, "I need to go home and measure..." you've got an immediate solution for them!
Watch the vlog to see what I mean and how I'm going to employ this tool on the sales floor and for the future.
Two Parts: The first 13 or so minutes are all about AR. The last part demonstrates how to set up your work on Saatchi Art.
Check out The Complete Guide To Art Fairs to see how amazingly this tool worked in the field my first time using it.
I really mean YOUR tribe. You're the chief and they follow you.
PeopleMap Referral Link: https://app.peoplemap.co/a/signup?ref=oTcymHxm
(If you end up using PeopleMap, the above link gets you 50% off and it gets me $10 toward next month's dues.)
"Build it and they will come." Except...they won't. If you want to be successful, you need to go out and round up your flock. A big part of marketing today is knocking people on their digital heads with your staff and showing them your wares.
I use PeopleMap as one of the tools for finding ACTIVE Instagram people and, in some cases, their direct contact information. I also use Justin Rosenberg's @JSRPHOTOS new art book, as a focus. We hone in on a few accounts with large followings AND strong engagement to create a target audience and mailing list.
Take a look at the walk-through and let me know if you have any questions about the strategy.
So, I'm in the middle of this project for my sister, a beauty photographer, active duty Major, and all-out powerhouse of industrial ability. She's in Afghanistan right now, so some of that ability has to be delegated and I am happy to pick up the work on her behalf.
She is mailing contact cards to her beauty clients. Clients like Loreal, InStyle, Bare Essentials, etc.
How did she find these contacts?
What is she sending?
HOW DO YOU DO IT.
All of the above is covered in the above video. Please give it a thumbs up and leave any questions you have in comments below. You can also just send a wave to make me feel special. Who knows, I may need it at the moment.
Find Jenny at: www.jennifer-mcintyre.com
Link to artist resource shared in the video: https://gumroad.com/artistresources
Let's help Cody reach his clients
Cody had a question about selling his work (via direct marketing) in a small town. In this is video, I do a practical application of the marketing tactics I taught in the group. For more of that, see the unit on Marketing.
I Got Here By Networking...
Last night I recorded a few clips while I prepared to show two pieces at a wealth manager's client appreciation event. I go over the following:
•My thoughts preparing and setting up
•Some of the key supplies/gear I used to set up.
•How I felt at the conclusion of the event.
So you've sent the marketing email, no what
*Following up on my last video about releasing a new piece of art.
so... you're not finished with marketing once you've told everyone that your new piece has been created. You have to follow up with those who are interested. You also need to try to connect with those in your mailing list that didn't open the original email. It might be that they're ignoring you, or it might be that the email was lost to the birds, so to speak.
Here's some tactics and strategies to better connect with your audience.
Once you've created your piece of art, you need to tell people about it.
Like it or not, being a professional artist requires you to learn and execute many professional skills that fall outside the purview of what it means to be a working artist.
In the first 20 minutes of this video, I discuss MailChimp as that is my email marketing tool. Everything I share will be applicable to whatever email tool that you use.
Also covered: effective language and content strategy for sharing my new piece of art, Edge of Solace. We discuss my website, and I share the actual email that I send to my mailing list; who I chose to send the email to, and why. We cover a lot of "little things" that go into putting together an effective email. And we touch on Instagram and social media.
The final 10 minutes are about how I assemble my framed and in-home examples. For those interested in learning more about that, feel free to stick around for the last ten minutes.
Guerrilla Marketing 301
This is a case study on how I reach collectors directly.
As an artist and salesmen in a business to business capacity, I often have to negotiate with gatekeepers to get to the person who makes the decisions.
For years I struggled to get past these people and, more often than not, failed.
In many cases, it is the gatekeeper's job to filter the content that makes it to their bosses or into their work environment. Often, as you can imagine, their filter includes their biases. Sometimes even, they filter out people and things simply because they don't want to do any extra work.
Well, the best thing for an artist to do is to go around this person. Art is a luxury item and almost always falls in the extra work category for these type of people. If you want to make sure your message is being seen, then put it in front of the prospect directly.