How to Find Out What My Art Is Worth
Quantifying Inventiveness
How Whatever Artist Can
Cost Their Art for Sale
Pricing your art is different from making art; it'due south something you do with your fine art afterward it'southward made, when it's ready to go out your studio and get sold either by you personally or through a gallery, at an fine art fair, online, at open studios, through an amanuensis or representative, wherever. Making art is nigh the individual personal artistic process, experiences that come from within; pricing art for sale is about what'due south happening on the exterior, in the real world where things are bought and sold for coin, and where marketplace forces dictate in big role how much those things are worth.
The better you understand how the fine art market works and where your art fits into the big film of all the fine art by all the artists that'south for sale at all the places where art is being sold, the ameliorate prepared yous are to price and sell your art. Just similar any other product, art is priced according to sure criteria-- art criteria-- and these criteria have more to do with what'southward going on in the market place than they do with you equally an creative person. They're about how people in the art earth-- people like dealers, galleries, agents, publishers, auction houses, appraisers, buyers and collectors-- put dollar values on art. You have an idea of what your art is worth, the market has an idea of what your art is worth, and somehow the 2 of you have to assemble on a cost structure that makes sense.
Let'south take a non-art example of how market place forces dictate prices. Suppose yous meet a 2001 used Toyota Corolla with 180,000 miles on it advertised for sale and priced at $45,000. The owner is probably not going to sell that motorcar. In order to sell a used Toyota Corolla with lots of miles on information technology, you have to price it co-ordinate to certain criteria, used car criteria. In the same way, in order to sell fine art, y'all accept to price it according to art criteria. Learning what these art criteria are and understanding how they apply to you is essential to pricing your art successfully.
Art prices are not pulled out of thin air. When you lot price your art, yous must be able to show that your prices make sense, that they're fair 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 nearly art and who are interested in either buying, selling or representing your piece of work are going to effigy out 1 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 tin can't do this, you'll accept a hard time selling any art at all.
So how do yous outset? If you don't accept a consistent history of selling your art in a item price range or in a particular market or your sales are erratic or you're making a change or you're but plain not sure how much to accuse for whatever reason, a skilful outset stride is to use techniques similar to those that real estate agents use to price houses. The selling price of a house that's just 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 instance, let'southward take a squeamish big mansion and plop it downwardly in the good function of Beverly Hills. Information technology'll be worth maybe five, peradventure x, maybe xl one thousand thousand bucks. Now, let's plop information technology onto the plains of North Dakota. Information technology'll be worth maybe $500,000, maybe $one,000,000 or maybe a little more... max. Same mansion; different neighborhood; different criteria; different prices. Get it?
You encounter, you can't price your art in a vacuum; yous have to consider its "neighborhood," its context, the "fine art criteria" that connect it to the residual of the art world. Y'all'll notice 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 blazon of artist has its own price structure, and that includes yours. At present you may be thinking, "But my art is unique. Y'all can't cost art like that." Aye information technology's unique, simply so is every house in any given neighborhood. No matter how unique your art is, information technology's too similar in certain ways to art past other artists-- just like one firm is like to another (they both have certain numbers of rooms, square footage, and and so on).
Here are some of the ways your art may be like to other art-- it may exist similar in size, shape, medium, weight, discipline affair, colors, the time it takes y'all to make information technology, when it was made, how long y'all've been making that type of fine art, how many you've made, what type of art it is (abstract, representational, conceptual, etc.), who your audition is, and so on. Your job is to explore and get to know your market, keep an open mind, notice that similar fine art, find the artists who go far, focus on those who take similar experience and qualifications to yours, and run across what they accuse for their art and why.
For those of you who have piffling or no sales feel, who haven't sold much art, a good starting point for you is to toll your piece of work based on time, labor, and cost of materials. Pay yourself a reasonable hourly wage, add the price of materials and brand that your asking price. For case, if materials price $50, you take 20 hours to make the art, and you pay yourself $20 an hour to brand information technology, then you price the art at $450 ($20 X 20 hours + $fifty cost of materials). Don't forget the comparables, though. If y'all employ this formula and your fine art turns out to be more expensive than what other artists in your area charge for similar art, you may have to rethink your pricing, pay yourself a piddling less per hour mayhap.
And then in summary, here are the basic art pricing fundamentals:
Step 1: Define your market. Where do you sell your fine art? Practise you sell locally, regionally, nationally or internationally? The art, artists and prices in your market are the ones you should pay the most attention to.
Step 2: Define your blazon of fine art. What kind of art do you make? What are its concrete characteristics? In what ways is it like to other fine art? How practise yous categorize it? If you lot paint abstracts, for example, what kind of abstracts, how would you lot describe them? This is the blazon of fine art y'all generally want to focus on for comparison purposes.
Stride 3: Make up one's mind which artists make fine art similar to yours either by researching online or visiting galleries, open studios or other venues and seeing their piece of work in person. Pay particular attention to those artists who likewise take career accomplishments and resumes similar to yours, who've been making fine art about equally long as you have, showing about as long equally y'all accept, selling nigh every bit long as you take and so on.
Step 4: See how much these like artists charge for their fine art. Their prices volition exist good initial estimates of the prices y'all should charge for your art.
At the same time you're zeroing in on art that's similar to yours, y'all also want to keep an eye on what's going on with other artists in your surface area, fifty-fifty if their art isn't that much like yours. If you focus too much attention on likewise narrow a slice of the art world and as well little attention on the rest, or even worse, you lot dismiss the rest every bit irrelevant, your prices may make sense to you and a few people around you, merely not to anybody else. The more than enlightened you are of the large film, of what other artists make, how much they charge for it, who buys it for how much and why, the amend prepared you are to price your art then that it has a chance to sell in a broad range of circumstances.
Pricing by comparing works in the great bulk of cases, but you tin get fifty-fifty more authentic with your pricing to really make sure your prices make sense, AND MORE IMPORTANTLY, that you tin can justify them to anyone who asks. In instance yous're thinking this is all nonsense, I assess 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 point is that people place dollar values on fine art all the time, that sure rules, methods and techniques be for doing and so. I'm showing you some of that hither, techniques whatever artist can employ to value their art. Then permit's get pricing. The following factors aren't in any particular club, and may or may non apply to you lot. You lot decide what works best.
To begin with, be objective about your fine art and your feel. In order for your prices to brand sense, you have to adequately, honestly and objectively evaluate how your art measures up to other art that'due south out there. In club to make valid comparisons, y'all need a good ballpark thought how the quality of your art and the extent of your accomplishments stack upward against those of other artists, peculiarly the ones who you'll be comparing yourself to. In other words, don't exaggerate your stature. If you've been making art for three years, for case, don't compare yourself to artists who've been making it for twenty. Being honest like this is not necessarily piece of cake and it's not necessarily pleasant, just it'south essential if you desire to make it every bit an creative person.
Base your pricing on facts, not feelings. Don't misfile your ain personal opinion of your art, or what you lot think the fine art earth should be like, or how you call up it should answer to your art, with how things actually are. If you observe yourself saying stuff like "People don't understand my work" or "People don't capeesh me" or "I'thousand simply as adept equally Vincent Picasso even though he's famous and I'chiliad not" or "Sooner or later on I'll discover the perfect dealer or collector or whatever and live happily e'er after," you may be making some errors in judgment. If you're not quite certain where you stand up, invite a few people to look at your art and tell you what they think-- preferably professionals who know something about art-- not your best friends or biggest fans, simply ones who'll be honest and direct. Encourage them to exist truthful because that's what yous need. And don't become defensive; doing this will help y'all. When you're objective about your art, you maximize your chances of succeeding as an artist.
If it's whatever consolation, and I know you want your art to sell for equally much coin as possible, your art is yet the aforementioned art, it's still just as practiced, you're still the same creative person and you're still but as good, no matter how you cost information technology. Merely because y'all toll something at $20,000 instead of $200 does not brand information technology "better". Don't use dollar values to validate yourself as an artist; use them to sell your art. Zip is worth anything until it actually sells, and someone hands yous the money and takes your fine art in exchange.
This next signal I already fabricated, but because it's so of import I'thou going to make it once more this time from a different angle. Don't recollect that your fine art is then unique that you can toll it without regard to what'due south happening with other artists or elsewhere in your art customs or in the art world in general. All art is unique. Every artist is unique. Uniqueness, however, is not and never volition be the sole criteria for pricing fine art. But wait. Let'southward say, for the sake of argument that your fine art is unique and that it's unlike whatsoever object, art or otherwise, ever created in any manner since the beginning of time.
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 always compare fine art from artist to artist and from gallery to gallery before they make up one's mind what to buy, sell, collect, write about, exhibit or represent, no thing what kind of art they're looking at or how unique it is. They rarely, if always, detect themselves with but ane pick. Can you imagine any knowledgeable fine art person looking at an creative person's art and saying things like, "I accept never seen anything like this! I must have it. I don't care how much it costs. I don't care who you are. I'll take it. This is unbelievable." Not going to happen. Fifty-fifty if your art is notably unique, people who know fine art will find some way to compare information technology, categorize information technology and chronicle it to other art by other artists in order to appraise its significance, its dollar value, and ultimately its institutional or marketplace viability. You have to do the same.
Once you lot've done your evaluating and you lot're ready fix your prices past comparing, base your prices on what sells, non on what doesn't. For example, suppose y'all've narrowed your comparables search downwardly to a handful of artists whose art is priced in the $2000-$twenty,000 range. If the merely art that sells is in the $2000-$5000 range, and the expensive pieces don't sell, this tells you that buyers don't want to pay the more expensive prices-- they're too high. So $2000-$5000 is probably where you lot desire to price most of your fine art, and forget well-nigh going much higher.
By the way, high priced originals are sometimes used to sell lower or more affordably priced originals or prints of originals. Certain galleries or artists don't care whether they sell their most expensive works, and may not even desire to; they're perfectly happy to sell the lower priced originals or the prints. Pricing certain originals high is a marketing technique designed to brand lower priced originals and prints look more attractive to buyers, almost like they're bargains. This coattail outcome does work, and then don't automatically assume the highest priced art e'er sells considering many times information technology doesn't.
Related to evaluating an creative person's range of selling prices is the fact that you desire to price your art co-ordinate to what other fine art SELLS for, non what it's OFFERED for. In other words, if it's priced $8000, but it sells for $5000, price closer to $5000 than $8000. Sometimes you encounter galleries where retail value is one thing, but the price they're willing to sell information technology for is substantially lower. This is another technique that is designed to make buyers feel similar they're getting bargains, and information technology may work for galleries, but information technology doesn't necessarily work for artists. You lot don't want to get become known for substantially lowering your prices because buyers will catch on, wait you out, and refuse to buy until sale time rolls around. Negotiating a lower price here and there on a instance-by-case basis is fine, simply avoid wheeler-dealer price-slashing sales techniques. Getting that kind of reputation may compromise the integrity of your art.
Now let's expect at comparison-shopping from the Buyer'S standpoint. Fine art is no different than any other product or service in that many people who purchase it tend to compare prices before they buy. I'll give you a fairly common example. Suppose someone sets aside $5000 to purchase ane piece of art. Allow'south say she goes to a bunch of galleries and sees a bunch of art, and finds 3 paintings that she likes every bit well, all nigh the same size, similar subject matters and quality, all by artists who are equally qualified. If one of those pieces costs $4000, i costs $4600, and one costs $5000, which i practice you recall she'll buy?
The moral of the story is to price on the low side of your market place, especially if you're less established, less experienced or trying to proceeds a foothold in a new or more competitive realm. Doing this increases your chances of making sales. You run across, when someone buys a slice of art from y'all, that's one less piece that they're going to buy from other artists. Yous want to maximize the number of pieces that people purchase from you. That'due south how you make a living as an artist.
No matter how y'all set your prices, yous take to be competitive. As distasteful and capitalistic as this may sound, y'all're in competition with other artists, not in the sense that yous're having paint-offs or sculpt-offs with the artists down the hall or across town or online, but in terms of doing what yous can to attract buyers, make sales and generate the money you need to survive as an artist. This is why I continue hammering abroad well-nigh comparing. People who buy art exercise it; you lot should too.
When y'all fix your prices, e'er remember the difference betwixt gallery prices and artist prices, the difference between retail and wholesale. Selling art directly online or out of your studio is wholesale; selling it through a gallery or dealer is retail. If you're non a gallery or are not represented by a gallery, if you lot don't have gallery overhead, if you don't offer gallery-style amenities, don't price at gallery retail. When a gallery sells a piece of art, the creative person usually gets most half the selling price. So if a gallery sells art by other artists that is comparable to yours for $2000, that ways the artists get about $1000, so yous should price your fine art for sale directly from you at most half the gallery retail-- similar to what the creative person gets-- more than in the range of $grand than $2000.
If you already take or are about to become gallery representation, all of this changes every bit the two of you will have to decide how to reprice your work for a retail setting, whether you will be allowed to sell directly online or from your studio, what the arrangements for direct sales will be (if immune), and and so on. Just for now, assuming yous are an artist without representation, keeping your prices in the realm of wholesale increases your chances of making sales.
Past the style, sometimes a gallery marks upwardly more than than twice what the artist ends up getting. These tend to exist more than commercial galleries in locations with with high overhead. It's up to y'all how much you'll allow a gallery to take, but the less experienced you lot are, the more seriously you should consider whatsoever gallery'southward offering to show and sell your art even though they may accept loftier marker-ups, bold they agree to encounter your asking prices, bold they're reputable, assuming they don't rope you lot into long term contracts. Yous see, if a gallery only pays you $1000 for your art, only they sell it for $4000, buyers perceive your art equally being worth $4000, not $yard, and that'south good for yous in the long run. In a sense, you're paying the gallery to promote you, to increase your name recognition and the value of your art in the eyes of the public, and a gallery that does this well deserves the commissions they charge.
Suppose you hook upwards with a college markup gallery like that. You don't necessarily have to stick with a lopsided split forever-- I sure wouldn't. If they proceed making sales and the 2 of you want to go along the human relationship going, yous may be able to renegotiate the commission at some point. If y'all tin can't, you lot may have to leave, just if yous determine to leave, brand sure you take other sales options to fall back on. Don't cutting them off if they're your principal ways of support.
So to repeat, especially when y'all're starting out, don't need too much. In full general, anytime anyone proposes to sell your art for more than it's ever sold for earlier, fifty-fifty though they may desire a lot in return, assuming they're reputable, assuming a reasonable contract, call back about it. The actress money they may brand in the brusque term will be nothing compared to the extra coin y'all stand to make in the long term by having someone set new high selling prices for your fine art. Those new loftier prices will exist practiced for the residue of your life, and that's a long time. The manner the art world works, by the fashion, is that more than famous you get and the college your prices become, the more control you lot progressively gain over your artistic destiny. A number of well-known artists really dictate their committee arrangements to galleries that want to show them, rather than the other way effectually.
Allow's talk consistency. At all times, be consequent with your pricing. Artists sometimes price certain pieces arbitrarily based more on how they feel about them or how attached they are than on what the market place for that fine art might dictate. Remember our used Toyota instance? No thing how much that automobile means to the seller, no thing how fond his memories are, the $45,000 request toll is not consistent 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 what similar cars are selling for, no matter how much it means to the seller.
Here'due south how this applies to art. Supposing I'm consulting with an artist and nosotros're going over selling prices. We're looking at a series of paintings, similar in size, subject matter, and other particulars. They're all priced in the $one thousand-$2000 range except one that's $10,000. Then I ask, "Why is this i so expensive?" If I go an answer similar, "Information technology means a lot to me" or "I don't really want to sell information technology" or "I actually love it," that means creative person is equating dollar value with personal feelings like how emotionally fastened he is or what he went through when he painted it. Though he has every right to experience strongly about it, as practise you about certain works of your fine art, he can't base selling prices on feelings. Feelings are non-transferable and can't exist translated into dollars and cents. You lot can only sell art, not feelings.
Pricing by how you experience looks arbitrary and inconsistent to outsiders. If they see a mix of high and low prices for similar works of art and can't figure them out, they rarely inquire why. They don't ask because they're not certain what to say, they don't want to insult you, they don't want to get into uncomfortable conversations, and so on. Even though your prices make perfect sense to you lot on a personal level, if they don't make sense to others, sales will suffer. People like straightforward easy-to-empathize toll structures. Consistency in pricing is a cornerstone of successful selling.
The good news is that solving emotional price problems is easy. All yous have to do with art that means the most to you, the stuff you won't sell unless someone actually pays you for it, is keep it in your own personal collection. Don't bear witness it in public. If you lot really desire to show it, put NFS on it-- not for sale-- or "Collection of the Artist." Don't toll it. Know that if you practice show it, though, certain people might come upwardly to you and say things like "Oh-- that'southward my favorite. It'south the best one. Information technology'south not for sale? I would have bought it." Whether they would take bought it or non, you lot may well lose sales past making people jealous of what they cannot have.
Inconsistent pricing on the low side can piece of work against you lot as well. For case, permit's say you lot price some art really low because y'all don't like information technology, it's the sometime stuff you don't brand anymore, you're tired of looking at, y'all've run out of space, it reminds you of someone you don't want to be reminded of, you're cleansing your environs, whatever. Experienced buyers who bargain chase for art love it when artists price low art based on feelings or emotions rather than on the quality of the work or other objective market factors. If you lot're planning on having an art-I-don't-like-anymore sale, get an informed outside stance first to make certain you're non selling yourself short.
All artists need to understand the departure between complete strangers and friends & family. What you sell your art to friends or family unit members for is not necessarily what your art is worth on the open up market, and not more often than not a good fashion to value your art. I can't tell you how many times I'm working with an creative person on prices, they say something like, "I've sold three paintings for $2000 each and one for $3500," and frankly, I don't see the value. So I ask, "Who'd y'all sell them to?" And I get answers similar "My all-time friend," "My mom and Dad," "Uncle Mike," and so on. These people dear you; they desire to encounter yous succeed as an artist and will do anything to help you reach that goal including paying whatsoever you ask for your art (bold they tin can afford it). They are not the common cold roughshod impersonal fine art world. Permit them dearest you lot, let them help you, let them be generous, but by all means, don't use the prices they pay equally indicators of what your art is worth on the open up market and ignore all the techniques discussed above.
What your fine art might sell for at a charity fundraiser or benefit auction does not necessarily have anything to do with the value of your art on the open market. Many times, people who buy or bid fine art at fundraisers and benefits intendance more than about supporting the organizations involved than they practice about what they are getting in commutation for their donations. In other words, bidders or buyers may pay excessive prices for fine 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 art sells for substantially more at a charity sale than it might out of your studio, this is non necessarily a practiced reason to raise all of your prices (read more than nearly when to raise your selling prices below).
* Some people who actually like your art can't beget much. They may be among your biggest fans though, and so give them a chance to purchase something-- a small painting, a print, a drawing, any. Have affordable options. Your fine art is your billboard, your business card. The more fine art you sell, the more people you sell to, the more places y'all show it, the more people see it (both online and at physical locations), the more than you get your name out there, the better known you get, the more goodwill y'all create, and in the end, all that good comes back to you, much of it in the grade of increased sales.
* If you're in a group prove, submit art that's in the aforementioned price range as the balance of the art in the show. You don't want to enter the most expensive piece; you don't want people's first impression of your art to be sticker shock. Y'all desire your art to stand out for art reasons, not money reasons. If you're non certain what the evidence's price range is or what price range generally sells best, ask the organizers earlier yous submit.
* For those of you with websites, don't show art that's already sold aslope fine art that's still for auction. Showing sold fine art with for auction fine art doesn't help you make sales. Some artists call back that if visitors see how much is selling, they'll want to bring together the crowd and go one too, before it'southward too late, earlier they're all gone. But exactly the opposite happens. People see a mix of sold and for sale art and think, "All the best ones are gone; nada's left but the bones. I don't desire sloppy fifteenths." People don't want to come across what they missed, what they tin can't have. They want to see computer screens full of studio-fresh art where they go first pick, and everybody else can fight over the crumbs. Best process is to either remove art from your site when it sells and supervene upon it with new art OR move it to a category or gallery called "Past Work" or "Select Past Work". That way, visitors can see you are selling, but won't confuse it with art you take for sale.
* If asked, exist willing to talk near what you've sold, how much yous've sold, who's buying, where they're buying, or how much yous've sold it for. Providing data about your sales history serves to support your request prices and makes people feel better well-nigh ownership your art. You can besides put this information in your "Past Works" or "Select Past Works" department past showing mainly your best sold works similar ones that are in significant private, corporate or institutional collections, ones that have won awards or been exhibited, ones that take been written most, ones that accept been illustrated on websites or publications, etc. These accomplishments may besides be in your resume merely pairing them with images in a "Past Works" gallery is also nifty mode to get the point beyond; you could about call information technology a visual resume. Flaunt your past sales; don't ignore them.
No matter where y'all sell your art, make sure it's priced and that people tin can encounter the prices. ALWAYS have toll information about your art available for anyone to see. Don't make them ask. Don't make them email. Don't make them call. Not pricing your fine art and making people enquire is a game. Hither's how it's played... "You tell me which i you similar the most. And so I try to figure out how much you lot similar it and how badly yous desire it. Then I look at your shoes or your electronic mail address or your online profile or your area code, and try to figure out how much you can beget. Then I price it as high equally I call back I possibly can." This is why many people are hesitant to ask prices. Or they're worried well-nigh stuff like being pressured to buy, finding the art is costs more than they can afford, beingness put on email lists or having their emails sold or shared, etc. Having to inquire prices turns many people off; they feel much more comfy contacting you 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 most money. Suppose, for instance, someone asks a price and you're non sure what to accuse, so yous outset fumbling around. "Oh... that 1," you say. "Y'all like that one? Hmmm. Let me come across, I haven't thought almost selling that 1 earlier... I actually like it though; it's 1 of my favorites. I would accept idea y'all'd like this i." And on and on you become, unable or unprepared or hesitating to respond equally the asker makes a beeline for the door. Let people see your prices get-go, recall them over and determine whether they can beget your $500 painting or $1000 sculpture. That makes information technology much easier to decide whether they desire to buy. If it's a go, they'll make contact and start up a conversation.
Permit'south say you've been selling fine art for a while and are thinking about raising your prices. Should yous? Good times to raise prices are when your fine art sells regularly, you've been selling consistently for at to the lowest degree 6 months to a twelvemonth, preferably longer, you have a show where at least half of your art sells, or yous're selling at least half of your art inside several months or and so after y'all get in. If sales are good, demand is loftier and your art is moving like that, raise prices ten-25%, closer to the x% if yous are consistently selling well, closer to 25% if yous reach some sort of major career milestone like getting a meaning museum show or receiving a prestigious award.
Be able to justify all cost increases with facts. Don't raise prices arbitrarily based on how you feel, on what another artist does or because you think your prices have been the same long enough. Always have a good reason. And exist careful not to amerce your collector base by getting as well expensive to fast; always remember those faithful fans who've been buying your fine art and supporting you the longest. Never price them out of your market.
OK. We're washed. You've got your fine art priced and you're ready to sell. But tin can you respond the big question: "Why is this ane priced at $2000?" When someone asks you about a price, do exactly what the galleries do. Prove that y'all've been regularly selling comparable art for dollar amounts comparable to what yous're charging for the art they're asking about. Talk nigh sales you've fabricated through dealers, galleries, online or straight out of your studio. The more than similar sales you can talk nigh, the meliorate your chances of convincing the asker that $2000 is a fair cost to pay for the art and that they're getting their money'due south worth.
People want testify; they desire to feel confident virtually spending however much coin they're nearly to spend. They want to sympathise what they're getting in exchange for their cash, and feel like they have some degree of control over the state of affairs. This is especially truthful for buyers on the debate 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 intendance well-nigh how they spend their money-- they want to experience like they're spending it wisely. Show them they're doing the right matter, that your art is worth what you lot're selling it for, that other people buy it, and that its OK for them to buy information technology too.
Yet not sure how to cost your art? Artists hire me for price consults all the time (usually but costs $75). Not simply practise I price your art, but I also tell you how to explain your prices to potential buyers in linguistic communication they tin can understand and appreciate. People who understand your prices and run across the value in your work buy more art than those who don't. It's just that simple. Want to make an engagement? 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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