Holiday Art – Lucrative or too Competitive?

Many artists and crafters enjoy creating gifts and cards for each season or celebration. Although sales are high for retailers and wholesalers, the competition is keen. Commercial retailers that mass produce at low prices are difficult to compete with unless the artist can duplicate originals and print them in bulk.

I've experimented, but never been drawn to this arena. Our small local art league thought we had the nearby hospital gift shop locked up for our cards, but later discovered that we were dealing with a power hungry novice pretending to have authority which she didn't.

I had produced a shoe box filled with a variety of my own cards for that appointment. Later they sat in my closet and waited for the right time to sell. All that colored ink for the printer and money for inventory. I learned that it's not wise to spend money in advance of sales. More small businesses lose money by stocking too much inventory than through any other means.

I had a friend some years back who was an avid fire truck collector and admirer. He started selling framed photographs of old firetrucks and was doing a great business for a while.

Then his ego got the better of him and he started advertising in national magazines, taking out full-page ads to display his wares. He not only could not keep up with new demand, but he had spent his capital on advertising and had none left for product or inventory. The business quickly spiraled downward.

If your overhead and advertising costs are greater than your profit, you won't be able to dig yourself out of the hole you've made for yourself.

My husband and I decided to change out our kitchen chandelier, a Tiffany-like lamp that did not match our décor. I put the light fixture on Etsy after it had been weighed. What we hadn't anticipated is the size of the box required after the lamp was secured in bubble wrap to protect it from breakage.

The cost of mailing was almost equal to the cost we had charged for the lamp less $35. Of course, our time and the gas to and from the postal station was also not included. We shipped to our loyal customer and sucked up the rest. Lesson learned!

Some buyers may demean an artist's skill and time as they quibble over price and shipping. The hours devoted to learning a skill are dismissed and the professional expertise of the artist are belittled in an attempt to haggle over price.

Once an artist’s reputation and name are well known, they have reached a point where they can produce more in less time. But this doesn't make the cost go down. The cost of professionalism goes up when the artist's work is more in demand.

Whether you decide to focus on the seasons and holidays in an effort to grow your business or not, the most important element in considering to participate or not is to figure out what it costs you for materials and shipping, and what the competition is charging. 

Undercutting may get you a sale, but does it give you a profit? If you're pushing yourself into a box in order to make a sale, it may not be worth your efforts.

"Parasailing Roseate Spoonbill"

That’s my Story and I’m Sticking to It!

"Skudeneshavn Norway" Commissioned painting SOLD, Prints available. Sold Print in May.

I have a long list of paintings I want to create. Whenever I get an idea, I quickly jot it down. Some of these gems blossom and some wait in the wings; never to become more than a fleeting wisp of ethereal brain matter.

Many good ideas are beaten down with the big stick of apprehension or common sense. Do I really want to do anything so risque? Would anybody buy such a painting if I did create it? These are the kinds of nagging fears and inhibitions we are told to avoid. They are the pitfalls that drag us into the dark abyss of self-doubt. They make us question our ideas, our inspiration and skill even before we get our ideas off the ground.

"Vikeholmen Lighthouse; Skudenshavn Norway" 20 x 16 acrylic on canvas (Sold Print in May)

We are our own worst enemy. We sabotage ourselves at every turn. First we’re too young and inexperienced; and then when we gain knowledge and skill, we chastise ourselves for not being “at the top of our game.” We ruthlessly compare ourselves to others. We’re not smart enough, good enough, or skilled enough. Someone else is always better.

Finally if and when we reach some semblance of success, we wax melancholy, worrying that perhaps we’ve already reached our mediocre pinnacle. We fear that our encroaching age may make us obsolete or irrelevant.

We humans are so predictable. We want to be this unique and special gift to humanity, but we give up before we’ve even gotten our big toe wet in the gene pool of competition and exposure. We not only fear failure, we fear success.

"Egret Reflections" 8 x 10 oil on canvas SOLD; Prints available

When was the last time you truly believed in yourself and in your ability to not only complete a project, but to fill that empty hole inside where your unfulfilled dreams reside? What is trust but an innate belief in one’s worth?

Does the seed question that it will eventually germinate, blossom, and reproduce? No. It simply does what it was born to do: grow, develop and bloom. The same things we were created to do. We were born to grow, develop and bloom. But rather than nurturing our hopes and dreams, we smother them with insecurities.

The seed sprouts because it is created to grow upward, forever searching for the light. Our fears are born in darkness and by constantly looking inward to measure whether we’re happy or not. Instead of reaching up to our source of strength and inspiration, we become self focused.

Dreams must be outward focused. We reach out and up trusting that we are capable of better things because we are “gloriously and wondrously made.”

An intense desire to share our vision of life with others can pull us out of ourselves and stop the unfruitful tail spin of self-defeat. When you love your craft and trust in your own inner passions, the thrust will automatically bring you fulfillment and completion.

(Solo show at our club house -- shorter hair!)

Don’t let Juried Competition turn You into a Coward

(My fellow-artist and friend, Grace, with her watercolor entry)

Entering your work in a juried competition can be intimidating, especially if you’re a self-taught artist. Almost everything you’ve drawn or painted has come from grueling trial and error, and done while comparing yourself to artists with several degrees tacked onto their names or who may have studied abroad.

Ironically, there are many successful self-taught artists. A degree doesn’t guarantee success nor does it immediately make you an artist. In either case, the same principles hold true: practice, practice, practice.

(Third Place in Juried Competition) "With These Hands -- Love" 16 x 20 OIL on canvas

One basic difference between them is that a solid art education provides a foundation that gives the artist an edge. Knowing why a painting works and understanding the building blocks of structure and execution is half the battle. In the end, success is determined by vision, skill, and persistence.

I’ve seen many discussions online about the value of juried competition. Is it worth the money, the time, and the possibility of rejection? The consensus seems to be that it’s rarely worth the money or the 35-40% commission charged for a sale. The value seems to be in promoting the name and the skill of the artist (assuming that they get in the show), and the benefits of adding a “win” to your resume. The odds of winning are somewhat better than winning a lottery, but not much.

(2nd Place Winner -- Juried Competition) "With These Hands -- Wonder" 16 x 20 OIL on canvas

Depending on the judge or juror of the show, your artwork is subject to their particular whims, likes and dislikes, and their own education and past influences. Rejection is somewhat subjective. Even in Art Leagues, I’ve found that the preferences and styles of each artist are effected by teachers in their past.

The thing that bugs me is that if we listened to these voices and followed their suggestions or objections rigidly, we’d all start dishing out artwork in the same dull way without innovation. There would be no Van Gogh’s or Salvador Dali’s; there would be no Thomas Hart Benton’s or Picasso’s.

I love what Andy Warhol said: “Art is what you can get away with!” If we’re always worried about conforming to the rules, or doing something in a particular way, art would become static.

"Fish Market" 18 x 20 Acrylic on canvas

For an artist to stand out, to be unique and to create his or her personal style then risks must be taken; experiments must be tried, rules must be broken. Aah, you say, but first you must know all the rules before they can be broken. Agreed, but the risk is that in sticking too closely to accepted forms and norms you may never get beyond the “copy cat” stage of accepted artistic behavior.

I’m a rebel in my heart of hearts. I’ve always defied fads and fashion. I’ve always created my own style because I couldn’t afford to follow current fashion. What I discovered, even in high school, was that I could create fashion trends by wearing what I had with confidence. Soon others would be wearing something similar.

"Broken" 11 x 14 mixed media on canvas SOLD (Prints available)

The same holds true for artists. Confidently create your own personal vision and you’re bound to be successful.

The Library -- One Size Fits All

When we struggled to raise six children and provide them with music lessons, athletic activities, and a good education, I never dreamed that would mean I couldn't finish mine. But reality held a different answer. Without the library, I may never have become a writer or an artist. It was my lifeline and my access to opportunity.

That's why I was pleased when a juried competition opened up for the PanAmerican Alliance and our skilled and talented artists. I'm sharing some photos from that show with you. The winners of that competition will be announced at an awards ceremony on Dec. 3 at the library. If you’ve followed my work, perhaps you can find mine.

Being an artist is expensive. There are many choices to make and mediums to purchase: linseed oil, turpenoid, oil paints, acrylic paints, modelling and mixing mediums, watercolor paints and paper, pastels and paper, brushes and tools, canvases and panels. All of these amount to "infrastructure" for the artist and are necessary components for turning professional.

I just purchased a package of pastel color shapers. The list price was $39.99. I went around the aisles several times before I realized it was do or die. I had to have them. The results of my recent works with fuzzy unclear details were good examples. Luckily a friend gave me an online coupon for 40 percent off which made my decision easier. I paid $16.00 for the shapers, and felt good about my decision.

There are other ways to save money: artist friends who throw in the towel and want to get rid of their painting supplies, garage/yard sales, stores like 2nd wind for artists, i.e. Act 2 in Fort Myers, sometimes e-Bay, etc. And don't forget the library; a great source for learning material. Used book stores may be the answer when you want to own a book.

Many artists use house paint instead of acrylic for large canvases. Squeeze bottles used for hair color can be washed and saved for painting use when you want a straight-edged trim on a petal or stem or for fancy scroll work. Being creative isn't limited to composition and design, it's a great way to develop your own personal style and to lend a new twist on a vision or idea.


How do you save money? Please share your ideas with my readers!

Today, I'm sharing a "work-in-progress" inspired by a photograph I shared with you earlier of two sandhill cranes foraging at dusk (below). I first made a drawing, and now I'm putting in an acrylic base. I will use oil paint on the cranes and for detail and highlights. Stay tuned!

I loved this photograph because of the blue tones reflected on the crane's wings.