An Art Marketing Message from Eric Rhoads
"Half the money I spend on advertising is wasted. The trouble is, I don't know which half."
-- John Wanamaker (1838-1922)
Founder, Wanamaker Department Stores
Advertising seems simple. Buy an ad, get results, right? Our lives are so filled with advertising, coming from so many directions, that we all feel fairly comfortable engaging in it ourselves. How difficult can it be? Especially for artists, who have strong graphic instincts, and many of whom have graphic design backgrounds. Some have even been doing work for advertising companies.
But when you are advertising, how do you know it's working? Sadly, the answer is not cut-and-dried.
Easily Trackable Results
In the direct marketing world (direct mail, direct e-mail, direct Internet), they test like crazy, comparing one piece of copy against another to see which sales letter or campaign worked best. They have industry standards for returns on "mailings" and are very disciplined about tracking sales as correlated with campaigns. In the direct marketing world, results are easy to track. You know what you purchased and when, and whether people purchased something after seeing it.
But as an artist, you're not selling widgets, gadgets, vitamins, videos, or books. If you were, the question would have an easy answer: Track results.
In the world of art, here is what you are selling:
A specific image that will have a narrow appeal to a small group of people
A brand name as an artist
A status item (in some cases based on the notoriety of the artist)
A piece of decoration for a home or office (sorry to be so crass as to bring it to the level of commodity)
A memory or a dream, something that represents an emotion to the viewer
The feelings stimulated by your painting
A solution to a problem (we need something to go over the couch)
A souvenir of a place visited
An investment or a hedge against inflation
Artists who advertise often think their primary goal is to sell a particular painting. And of course selling something is the fuel that keeps the business moving forward. Yet finding one single buyer to like and buy one single painting is a pretty narrow focus. Though you want to sell that painting, you really need to develop a deeper and wider vision.
The Importance of Trust-Building
Imagine you meet someone for the first time at a cocktail party. Twenty minutes later, that same person comes up to you and asks to borrow $500. Would you give it to them? Of course not. Why not? No trust has been built.
If, on the other hand, you get to know that person, see them frequently, and a few months later that same person asks to borrow $500, you might consider it.
In fact, if you know someone well, feel comfortable with them, have known them for years and they ask, you would probably not hesitate if you had the money.
This highlights the importance of building trust, which is a big part of what branding is all about.
When someone sees your work for the first time, they may like and respond to your art, yet not take action. Why? They don't know or trust you yet. Over time, the more they see you, the more evidence they see that supports their desire to buy your work, and the better chance you have of selling them.
It's the primary reason I'm so insistent on focusing on trust-building through branding.
Branding Is Not for Wimps
I was coaching an artist on her first advertising campaign. She said, "I'll buy an ad and see if it works, and if it works, I'll buy more."
I said, "How will you know if it works?"
She said, "If I sell this painting."
I said, "Respectfully, that won't work. Save your money. Though you might get lucky and sell it, no one has heard of you. You have to build trust, you have to build awareness, you need to create and maintain a brand. It won't happen overnight, and there is nothing you can do to make it happen faster because trust requires time."
I told her she needed a campaign that would build trust by advertising consistently to a single audience (mine or someone else's) and that she would not see much, or any, result for about a year.
That's a tough sell.
To her credit, this artist wanted to be successful so badly that she found a way to commit to an every-issue ad campaign.
I then told her this: "Though you might get lucky and sell the paintings you advertise, your primary goal needs to be trust-building -- branding. And about six to nine months into this, I fully expect a phone call with you cancelling your advertising because it's not working. The reason I'm telling you this now is that at the point of your greatest fear and frustration, you'll be just starting to build momentum, even though you can't see it. When you get to that point, don't give in to the temptation to cancel. You'll lose the momentum, and if you come back later, you'll be starting over."
I said, "At about the one-year mark, you'll start seeing some activity. You'll start getting invited into shows. At about a year and a half, after consistent trust-building, you'll start being invited into galleries. You'll start seeing paintings sell, and your workshops will start selling out. At about two years, you'll hear from more galleries, sell more paintings, and you'll be invited to bigger shows and have a waiting list for your workshops. At three years, you'll see your prices double, you'll see the very best galleries seek you out, and there will be so much demand on your time you'll have to cut back on shows and workshops. And you'll be selling more paintings than you ever imagined possible."
Then I cautioned the artist, "At that point you'll be tempted to stop advertising because you'll start believing all the press clippings and think it is you making all this activity happen. And it is, but it's because you've become like a giant magnet, pulling people toward you with your marketing."
Sure enough, at the six-month mark, she called to cancel. I reminded her of what we'd discussed, and to her credit, she stayed in, based on faith.
At the nine-month mark, she started getting invited into shows and selling a few more paintings. At the 12-month mark, she started being contacted by galleries. It snowballed from there, and everything I predicted came true, almost exactly. (It's only because I've done this so long that it's that predictable.)
Trust-building -- branding -- is not for wimps. It takes courage and patience. Yet if you do it, and you keep it alive, you can become a major name in about three years' time, and within five to seven years become known as a master. Keep it alive for a decade or more, and you're an icon.
So How Do I Know It's Working?
As you can see, all this relies on momentum building quietly in the background, and it's hard to see it and measure that. Yet it's a powerful tool and is the very reason big brands hammer their name and message in the media, over and over, forever. There are always new people entering the market who don't know your brand, and the minute you stop, another brand takes your place.
You'll know it's working when you start seeing the activity level rise and other signals begin to show, about a year into a good campaign.
Critical Elements of a Marketing Campaign
All campaigns have critical elements. If those elements are out of balance or not fine-tuned correctly, the results will vary.
Lots of research has been done on this topic. A headline is designed to pull someone into your ad. Without a strong headline, they won't stop and look; they will simply keep turning the page until a headline does get their attention. I recently attended a conference where a speaker said a change of headline can impact an ad's results by 700 percent -- when the only thing that changed was the headline. (The same is true for a subject line in an e-mail.)
The copy in your ad, short or long, matters. Every word counts, and every word needs to help accomplish your goal. Most ads are weak and meaningless emote-y drivel. Ever hear these lines?
The best quality
The best service
All your ___ needs
Your copy needs to cut through.
The problem for artists is that they primarily want to highlight their name with a big image of a painting. But it's hard to stand out by doing that alone. If you study who is getting lots of attention these days, you'll notice they are writing strong headlines for their ads.
3. Audience Saturation and Repetition
It's important to pick a single media outlet (a publication, a website, etc.) and dominate it as much as you can, with ads as large and as much frequency (repetition of ads) as possible. Most of us are tempted to move to other publications after a couple of ads to reach a new audience. But that's a giant mistake unless you can stay in the initial publication, add the other, and dominate in both. Few can afford to do that, so stick with the one outlet. It's time + repetition of message that builds trust, which builds your brand and your sales.
4. Audience Target
Contrary to what others would like you to believe, size does not matter. What matters is that you reach a relevant audience for what you're selling. Though you will get a bounce from advertising anywhere because you can gain customers from any audience, a relevant audience will speed your success. For instance, if you were selling gold, you'd want to reach people who can afford gold. Being in Investor's Business Daily or the Wall Street Journal will be better for that than People magazine, even though People has a bigger audience. In your case, you want to reach people who can afford what you sell, people who are known buyers of paintings.
All decisions are emotional and only later supported by logic. Never forget this. If your ads don't have an emotional element to trigger strong feelings in your potential buyer, you'll reduce your success. (Of course, paintings themselves trigger emotions, so you have that to your advantage.)
6. Call to Action
Ads that don't ask for the order don't work. It seems simple, but most people simply include their contact information and never ask for the order. Research indicates that results will increase if you simply ask someone to pick up the phone and call to make a purchase.
7. Overcome Fears
Ads need to overcome the fears of a buyer. What fears do people have when they buy a painting? "Will it retain its value? What if I get it home and it looks bad with my couch? What if the gallery goes out of business?" The best way to overcome these and other fears is with a guarantee, such as: "If you decide for any reason the painting is not right for you, you have 60 days to return it for a full refund, no questions asked." Of course, everyone is afraid to do this, yet this one line will put some buyers over the edge and help them pick up the phone to call.
There is no one easy answer to "How do I know if my ads are working?" To some extent you have to trust that they are, after you've made sure the right elements are in your ads and the repetition and commitment are there.
Two Ads, Different Results
Most media works, or they wouldn't still be in business. Yet I can have two advertisers call me on the same day, and one will say their phone has not stopped ringing, their sales are strong, and they are getting amazing results. The other will tell me their ads are bombing -- and they'll want to blame the publication for not having the audience. What's the difference?
It all boils down to the elements we discussed above. A great, well crafted ad, with the proper elements, and the proper frequency over long periods of time, is the difference. Badly crafted ads don't work.
Unfortunately, everyone tends to be in love with the ads they create. But most advertisers lack deep experience in creating great copy and the right elements for success. Then when their ads don't work, they want to blame someone other than themselves.
In closing, before you ever buy one drop of advertising, you need to ask what your primary goal for that advertising is. If you could accomplish just one big thing, what would it be? Once you understand that, it will make the message you craft crystal clear, and clarity is critical to make advertising successful.