How Much Is an Art Studio Worth to a Business Buyer?
Quantifying Creativity
How Any Creative person Tin
Price Their Art for Auction
Pricing your art is different from making art; it'southward something you exercise with your art after information technology's made, when it'southward ready to exit your studio and get sold either past yous personally or through a gallery, at an art fair, online, at open studios, through an amanuensis or representative, wherever. Making fine art is about the individual personal creative process, experiences that come from inside; pricing art for sale is almost what's happening on the outside, in the existent world where things are bought and sold for coin, and where market forces dictate in large part how much those things are worth.
The better you understand how the art market works and where your art fits into the large motion-picture show of all the fine art by all the artists that'south for sale at all the places where art is being sold, the amend prepared you lot are to price and sell your art. Just similar any other product, fine art is priced according to certain criteria-- art criteria-- and these criteria have more to do with what's going on in the marketplace than they practice with you lot as an artist. They're about how people in the art world-- people similar dealers, galleries, agents, publishers, auction houses, appraisers, buyers and collectors-- put dollar values on art. You lot have an idea of what your art is worth, the market has an idea of what your fine art is worth, and somehow the two of y'all have to become together on a price construction that makes sense.
Permit'southward have a non-fine art example of how market place forces dictate prices. Suppose you see a 2001 used Toyota Corolla with 180,000 miles on it advertised for auction and priced at $45,000. The owner is probably non going to sell that car. In order to sell a used Toyota Corolla with lots of miles on it, you have to cost it according to certain criteria, used machine criteria. In the aforementioned way, in gild to sell fine art, yous have to price information technology according to art criteria. Learning what these fine art criteria are and understanding how they use to you is essential to pricing your art successfully.
Fine art prices are not pulled out of thin air. When you price your art, you lot 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 most fine art and who are interested in either buying, selling or representing your work are going to figure out one way or another, not necessarily by request yous, whether your art is worth what you're asking for it. In order to sell, you have to demonstrate and convince them that your prices are fair and reasonable. If yous can't do this, you'll have a hard time selling any art at all.
And then how practise y'all starting time? If you don't have a consequent history of selling your art in a particular price range or in a item market place or your sales are erratic or you're making a alter or you're only plain not sure how much to accuse for whatever reason, a practiced starting time step is to use techniques similar to those that real estate agents employ 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 similar houses in the same neighborhood sell for-- real estate criteria.
For example, let's take a nice large mansion and plop information technology down in the good part of Beverly Hills. It'll be worth maybe five, maybe ten, maybe 40 million bucks. At present, let's plop it onto the plains of North Dakota. It'll be worth perhaps $500,000, mayhap $one,000,000 or maybe a petty more... max. Same mansion; dissimilar neighborhood; different criteria; different prices. Get it?
You see, you can't price your art in a vacuum; you take to consider its "neighborhood," its context, the "fine art criteria" that connect it to the rest of the art world. You'll find that no matter what market place you sell in, whether local, regional, national or international, that for the well-nigh part, every type of art by every type of artist has its own toll structure, and that includes yours. Now you lot may be thinking, "But my fine art is unique. You tin can't price fine art like that." Aye it's unique, but so is every house in any given neighborhood. No matter how unique your art is, it's too similar in certain means to art by other artists-- simply similar 1 business firm is similar to another (they both have certain numbers of rooms, square footage, then on).
Here are some of the ways your art may exist similar to other fine art-- it may be similar in size, shape, medium, weight, subject thing, colors, the time it takes you to make information technology, when it was fabricated, how long you've been making that type of fine art, how many you've made, what type of art it is (abstruse, representational, conceptual, etc.), who your audience is, then on. Your job is to explore and go to know your market, go on an open mind, find that similar fine art, find the artists who make it, focus on those who take similar experience and qualifications to yours, and see what they charge for their art and why.
For those of yous who have little or no sales experience, who haven't sold much art, a practiced starting signal for you is to price your work based on time, labor, and price of materials. Pay yourself a reasonable hourly wage, add the cost of materials and brand that your asking price. For instance, if materials cost $50, you take 20 hours to brand the fine art, and yous pay yourself $twenty an hour to brand information technology, and then y'all price the art at $450 ($twenty X 20 hours + $fifty cost of materials). Don't forget the comparables, though. If you use this formula and your art turns out to exist more than expensive than what other artists in your surface area charge for similar art, you may have to rethink your pricing, pay yourself a footling less per hour peradventure.
So in summary, here are the basic art pricing fundamentals:
Step 1: Define your market. Where do you sell your art? Do 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 type of art. What kind of fine art do yous brand? What are its physical characteristics? In what ways is it similar to other art? How practice yous categorize information technology? If you paint abstracts, for instance, what kind of abstracts, how would you describe them? This is the blazon of art you lot by and large want to focus on for comparison purposes.
Step three: Determine which artists brand art similar to yours either by researching online or visiting galleries, open studios or other venues and seeing their work in person. Pay particular attention to those artists who also have career accomplishments and resumes similar to yours, who've been making art about as long as you have, showing about as long every bit you lot have, selling about every bit long as you have and so on.
Step 4: See how much these similar artists charge for their art. Their prices volition be expert initial estimates of the prices you lot should charge for your art.
At the aforementioned time you're zeroing in on art that's like to yours, you lot besides want to keep an eye on what's going on with other artists in your area, even if their fine art isn't that much similar yours. If you focus too much attention on too narrow a slice of the fine art earth and too little attention on the rest, or even worse, you lot dismiss the residual as irrelevant, your prices may brand sense to yous and a few people around you lot, but not to everyone else. The more aware you are of the large picture, of what other artists make, how much they charge for it, who buys it for how much and why, the better prepared you are to cost your art so that information technology has a chance to sell in a broad range of circumstances.
Pricing by comparison works in the bang-up majority of cases, merely you can become even more accurate with your pricing to actually make sure your prices make sense, AND MORE Importantly, that you lot can justify them to anyone who asks. In case you're thinking this is all nonsense, I appraise art professionally. Sometimes, I have to justify or defend my appraisals to entities like the IRS, insurance companies, estate executors, and the legal arrangement-- and sometimes those appraisals and justifications are subject to penalty of law. My bespeak is that people place dollar values on fine art all the fourth dimension, that sure rules, methods and techniques exist for doing and then. I'm showing you some of that here, techniques whatsoever creative person tin use to value their fine art. And then let's go pricing. The post-obit factors aren't in whatever particular lodge, and may or may non utilize to you. You determine what works best.
To brainstorm with, be objective most your art and your experience. In social club for your prices to make sense, you take to fairly, honestly and objectively evaluate how your art measures up to other art that's out there. In order to brand valid comparisons, you need a adept ballpark idea how the quality of your art and the extent of your accomplishments stack up against those of other artists, specially the ones who you'll be comparing yourself to. In other words, don't exaggerate your stature. If you've been making fine art for three years, for example, don't compare yourself to artists who've been making it for twenty. Being honest like this is not necessarily piece of cake and information technology's not necessarily pleasant, but it'due south essential if you want to brand it as an creative person.
Base your pricing on facts, not feelings. Don't confuse your own personal opinion of your art, or what y'all think the art world should be like, or how you call back information technology should respond to your art, with how things actually are. If yous find yourself maxim stuff like "People don't understand my work" or "People don't appreciate me" or "I'm simply as practiced equally Vincent Picasso fifty-fifty though he's famous and I'm not" or "Sooner or later I'll find the perfect dealer or collector or whatever and alive happily e'er subsequently," you may be making some errors in judgment. If you're non quite sure where you stand, invite a few people to await at your art and tell you lot what they remember-- preferably professionals who know something about fine art-- not your best friends or biggest fans, only ones who'll be honest and direct. Encourage them to be true because that'south what you demand. And don't become defensive; doing this will help you lot. When you're objective near your art, y'all maximize your chances of succeeding as an creative person.
If it's any consolation, and I know you want your art to sell for as much money equally possible, your art is still the same art, it's still just as good, you're all the same the same creative person and you're still simply as adept, no matter how y'all price it. Just because you toll something at $20,000 instead of $200 does not make it "better". Don't use dollar values to validate yourself equally an creative person; apply them to sell your art. Nothing is worth annihilation until it really sells, and someone hands you lot the money and takes your art in commutation.
This adjacent point I already made, but because it's then important I'm going to get in again this fourth dimension from a different bending. Don't call back that your art is so unique that you can price it without regard to what'southward happening with other artists or elsewhere in your fine art community or in the fine art earth in full general. All art is unique. Every artist is unique. Uniqueness, however, is non and never will be the sole criteria for pricing art. But wait. Let's say, for the sake of argument that your art is unique and that it'southward different any object, art or otherwise, ever created in any fashion since the outset of time.
Now let'southward practice a quick switch and consider that art from the perspective of experienced dealers, curators, critics or collectors. These people almost ever compare fine art from artist to artist and from gallery to gallery before they decide what to buy, sell, collect, write about, exhibit or represent, no affair what kind of art they're looking at or how unique it is. They rarely, if e'er, find themselves with only one choice. Can yous imagine any knowledgeable art person looking at an artist's fine art and saying things like, "I accept never seen annihilation like this! I must take information technology. I don't care how much it costs. I don't care who you are. I'll take it. This is unbelievable." Non going to happen. Even if your fine art is notably unique, people who know art will find some way to compare it, categorize it and relate it to other art by other artists in order to assess its significance, its dollar value, and ultimately its institutional or marketplace viability. You take to exercise the aforementioned.
Once you've done your evaluating and you lot're ready set your prices by comparison, base your prices on what sells, not on what doesn't. For example, suppose you've narrowed your comparables search downward to a handful of artists whose art is priced in the $2000-$20,000 range. If the just art that sells is in the $2000-$5000 range, and the expensive pieces don't sell, this tells you lot that buyers don't want to pay the more expensive prices-- they're too loftier. So $2000-$5000 is probably where you lot want to price most of your art, and forget near going much college.
By the style, loftier 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 want to; they're perfectly happy to sell the lower priced originals or the prints. Pricing certain originals high is a marketing technique designed to make lower priced originals and prints wait more than attractive to buyers, well-nigh similar they're bargains. This coattail consequence does piece of work, so don't automatically assume the highest priced art e'er sells considering many times it doesn't.
Related to evaluating an artist's range of selling prices is the fact that you lot want to cost your art co-ordinate to what other art SELLS for, not what information technology'south OFFERED for. In other words, if it's priced $8000, simply it sells for $5000, toll closer to $5000 than $8000. Sometimes you run into galleries where retail value is ane thing, but the price they're willing to sell it for is substantially lower. This is another technique that is designed to brand buyers feel like they're getting bargains, and it may piece of work for galleries, but information technology doesn't necessarily piece of work for artists. You lot don't desire to go get known for substantially lowering your prices because buyers will grab on, wait you lot out, and refuse to purchase until sale time rolls effectually. Negotiating a lower price here and in that location on a example-past-case basis is fine, but avert wheeler-dealer price-slashing sales techniques. Getting that kind of reputation may compromise the integrity of your art.
Now allow'south look at comparison-shopping from the BUYER'Due south standpoint. Fine art is no unlike than any other production or service in that many people who buy information technology tend to compare prices before they buy. I'll give you a fairly mutual example. Suppose someone sets aside $5000 to purchase one piece of art. Let's say she goes to a agglomeration of galleries and sees a bunch of art, and finds three paintings that she likes as well, all near the aforementioned size, similar subject matters and quality, all by artists who are equally qualified. If one of those pieces costs $4000, one costs $4600, and i costs $5000, which one do you lot think she'll buy?
The moral of the story is to price on the low side of your marketplace, especially if you're less established, less experienced or trying to gain a foothold in a new or more competitive realm. Doing this increases your chances of making sales. You lot see, when someone buys a piece of art from you, that's 1 less slice that they're going to purchase from other artists. You lot desire to maximize the number of pieces that people buy from you. That's how y'all brand a living as an artist.
No affair how yous gear up your prices, yous accept to exist competitive. As distasteful and capitalistic as this may sound, you're in contest with other artists, not in the sense that you're having paint-offs or sculpt-offs with the artists downward 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 equally an artist. This is why I keep hammering away about comparing. People who purchase fine art do information technology; you lot should too.
When you set your prices, always think the difference between gallery prices and artist prices, the difference between retail and wholesale. Selling art straight online or out of your studio is wholesale; selling it through a gallery or dealer is retail. If you're not a gallery or are not represented by a gallery, if you don't take 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 artist usually gets about half the selling price. So if a gallery sells fine art by other artists that is comparable to yours for $2000, that ways the artists become nearly $1000, so you should price your art for auction directly from you at virtually half the gallery retail-- similar to what the artist gets-- more in the range of $g than $2000.
If you already have or are about to get gallery representation, all of this changes as the two of you volition accept to decide how to reprice your piece of work for a retail setting, whether you will be allowed to sell direct online or from your studio, what the arrangements for straight sales will be (if immune), then on. But for now, assuming you are an artist without representation, keeping your prices in the realm of wholesale increases your chances of making sales.
By the way, sometimes a gallery marks up more than twice what the creative person ends up getting. These tend to be more commercial galleries in locations with with high overhead. Information technology's up to you how much you'll permit a gallery to take, only the less experienced you are, the more seriously you lot should consider any gallery'south offer to show and sell your art even though they may have high marking-ups, bold they concord to meet your asking prices, assuming they're reputable, assuming they don't rope you into long term contracts. You see, if a gallery simply pays yous $thou for your art, but they sell it for $4000, buyers perceive your art as being worth $4000, not $1000, and that's good for you in the long run. In a sense, you're paying the gallery to promote yous, to increase your proper 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 up with a higher markup gallery like that. You lot don't necessarily have to stick with a lopsided split forever-- I sure wouldn't. If they keep making sales and the 2 of yous want to keep the relationship going, you may be able to renegotiate the commission at some point. If you tin can't, you may accept to get out, but if you decide to exit, make sure y'all accept other sales options to fall dorsum on. Don't cut them off if they're your main means of support.
And then to repeat, especially when you're starting out, don't need besides much. In general, anytime anyone proposes to sell your art for more than than information technology'due south e'er sold for before, even though they may want a lot in return, bold they're reputable, bold a reasonable contract, recollect about information technology. The actress money they may make in the brusk term volition be goose egg compared to the extra money y'all stand to brand in the long term by having someone prepare new loftier selling prices for your fine art. Those new high prices will exist practiced for the rest of your life, and that'south a long time. The way the art world works, by the manner, is that more famous you get and the higher your prices go, the more control you progressively gain over your creative destiny. A number of well-known artists actually dictate their commission arrangements to galleries that desire to show them, rather than the other style effectually.
Let's talk consistency. At all times, exist consequent with your pricing. Artists sometimes price sure pieces arbitrarily based more on how they feel about them or how attached they are than on what the market for that art might dictate. Think our used Toyota example? No matter how much that car ways to the seller, no thing how fond his memories are, the $45,000 asking cost is not consistent with what like used Toyota's sell for. Personal feelings, attachments or sentimental value are intangible, non-transferable, and cannot exist measured in monetary terms. The car is non worth more than what similar cars are selling for, no thing how much it means to the seller.
Hither'due south how this applies to fine art. Supposing I'thou consulting with an artist and nosotros're going over selling prices. We're looking at a serial of paintings, like 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 one and then expensive?" If I go an respond like, "Information technology means a lot to me" or "I don't really want to sell it" or "I really love it," that ways artist is equating dollar value with personal feelings like how emotionally attached he is or what he went through when he painted it. Though he has every right to feel strongly about it, as do you most certain works of your fine art, he can't base selling prices on feelings. Feelings are non-transferable and can't be translated into dollars and cents. Y'all tin can just sell art, non feelings.
Pricing by how y'all feel looks arbitrary and inconsistent to outsiders. If they run across a mix of high and low prices for similar works of art and can't effigy them out, they rarely ask why. They don't enquire considering they're not certain what to say, they don't want to insult you, they don't desire to get into uncomfortable conversations, and and so on. Even though your prices make perfect sense to you on a personal level, if they don't brand sense to others, sales volition suffer. People like straightforward easy-to-empathize price structures. Consistency in pricing is a cornerstone of successful selling.
The skilful news is that solving emotional toll problems is easy. All y'all have to do with fine art that means the well-nigh to you, the stuff you won't sell unless someone really pays yous for it, is proceed it in your own personal collection. Don't show it in public. If y'all really want to prove information technology, put NFS on it-- not for auction-- or "Drove of the Artist." Don't price it. Know that if you exercise bear witness it, though, certain people might come upwardly to you and say things like "Oh-- that'south my favorite. It's the best 1. Information technology'south not for auction? I would accept bought it." Whether they would have bought information technology or not, yous may well lose sales by making people jealous of what they cannot accept.
Inconsistent pricing on the low side tin can piece of work confronting you lot as well. For example, let'southward say you lot toll some art really low because y'all don't like information technology, it'southward the quondam stuff you don't make anymore, yous're tired of looking at, y'all've run out of infinite, it reminds you lot of someone y'all don't desire to be reminded of, you're cleansing your environment, any. Experienced buyers who deal 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, become an informed outside stance commencement to brand certain you're not selling yourself brusk.
All artists need to understand the divergence between complete strangers and friends & family. What you sell your art to friends or family members for is non necessarily what your art is worth on the open up market, and not generally a adept mode to value your art. I tin can't tell you lot how many times I'm working with an artist on prices, they say something like, "I've sold iii paintings for $2000 each and 1 for $3500," and frankly, I don't see the value. So I enquire, "Who'd y'all sell them to?" And I get answers similar "My all-time friend," "My mom and Dad," "Uncle Mike," and and so on. These people love yous; they want to run into you succeed every bit an artist and will do anything to aid you lot accomplish that goal including paying whatever yous ask for your fine art (assuming they tin can afford it). They are not the cold brutal impersonal art earth. Let them love you, let them help you, permit them exist generous, simply past all means, don't use the prices they pay as indicators of what your art is worth on the open up market and ignore all the techniques discussed above.
What your art might sell for at a charity fundraiser or benefit auction does not necessarily have anything to exercise with the value of your art on the open market. Many times, people who buy or bid art at fundraisers and benefits care more nigh supporting the organizations involved than they do nearly what they are getting in exchange for their donations. In other words, bidders or buyers may pay excessive prices for art not because that is what the fine art is realistically worth, but rather because they know their money is going to a good cause. The fine art to them is secondary to the contribution they are making. If a piece of your art sells for essentially more at a charity auction than it might out of your studio, this is not necessarily a expert reason to raise all of your prices (read more than about when to raise your selling prices below).
* Some people who really like your art can't afford much. They may be among your biggest fans though, and then give them a chance to buy something-- a modest painting, a impress, a cartoon, whatever. Have affordable options. Your art is your billboard, your business bill of fare. The more than art you lot sell, the more people you sell to, the more places yous show it, the more people run across it (both online and at physical locations), the more than y'all become your name out there, the better known you go, the more than goodwill yous create, and in the cease, all that skillful comes back to you lot, much of it in the class of increased sales.
* If you're in a group prove, submit fine art that's in the aforementioned price range as the rest of the art in the testify. You don't want to enter the most expensive piece; you don't want people'southward offset impression of your art to be sticker shock. You desire your art to stand out for art reasons, not coin reasons. If y'all're not certain what the show's price range is or what price range more often than not sells all-time, ask the organizers before y'all submit.
* For those of you with websites, don't show art that's already sold aslope art that's still for auction. Showing sold art with for sale art doesn't help y'all make sales. Some artists retrieve that if visitors come across how much is selling, they'll want to join the crowd and get one too, before it'southward too late, before they're all gone. But exactly the opposite happens. People come across a mix of sold and for sale art and retrieve, "All the best ones are gone; nothing's left but the bones. I don't desire sloppy fifteenths." People don't want to see what they missed, what they can't have. They want to see computer screens full of studio-fresh art where they get first pick, and everybody else tin fight over the crumbs. Best procedure is to either remove art from your site when it sells and supersede it with new art OR move it to a category or gallery called "Past Work" or "Select By Work". That way, visitors can see you are selling, but won't confuse it with fine art you accept for sale.
* If asked, exist willing to talk about what y'all've sold, how much you lot've sold, who'southward buying, where they're buying, or how much yous've sold it for. Providing information well-nigh your sales history serves to support your asking prices and makes people experience meliorate most ownership your fine art. You tin can also put this information in your "By Works" or "Select By Works" section by showing mainly your best sold works like ones that are in meaning private, corporate or institutional collections, ones that accept won awards or been exhibited, ones that have been written most, ones that have been illustrated on websites or publications, etc. These accomplishments may also exist in your resume simply pairing them with images in a "Past Works" gallery is also great way to get the point across; y'all could well-nigh call information technology a visual resume. Flaunt your past sales; don't ignore them.
No affair where you sell your fine art, brand certain it's priced and that people can see the prices. ALWAYS accept cost information about your art available for anyone to see. Don't make them ask. Don't make them e-mail. Don't make them phone call. Non pricing your fine art and making people ask is a game. Here's how it's played... "You tell me which 1 y'all like the nigh. Then I try to figure out how much y'all like it and how desperately you lot want it. And so I look at your shoes or your email address or your online contour or your area code, and try to figure out how much you tin afford. So I price information technology as loftier as I call up I possibly can." This is why many people are hesitant to ask prices. Or they're worried nearly stuff like being pressured to buy, finding the art is costs more than than they can afford, beingness put on electronic mail lists or having their emails sold or shared, etc. Having to inquire prices turns many people off; they experience much more comfortable contacting y'all when they know how much you charge.
Pricing your art also protects you from having to field unanticipated questions, specially if you're not comfortable talking about money. Suppose, for instance, someone asks a price and you're not sure what to charge, so you lot kickoff fumbling around. "Oh... that i," you say. "You like that i? Hmmm. Permit me see, I haven't thought about selling that 1 earlier... I really like information technology though; it'southward ane of my favorites. I would accept thought you'd like this one." And on and on you get, unable or unprepared or hesitating to answer as the asker makes a beeline for the door. Permit people run across your prices first, think them over and decide whether they tin can afford your $500 painting or $1000 sculpture. That makes information technology much easier to decide whether they want to buy. If information technology'southward a go, they'll make contact and first up a conversation.
Permit'due south say you've been selling art for a while and are thinking near raising your prices. Should y'all? Good times to raise prices are when your fine art sells regularly, you've been selling consistently for at least six months to a year, preferably longer, you accept a show where at least half of your art sells, or y'all're selling at least half of your art inside several months or so after you lot arrive. If sales are skillful, need is loftier and your fine art is moving like that, enhance prices 10-25%, closer to the 10% if yous are consistently selling well, closer to 25% if y'all reach some sort of major career milestone like getting a pregnant museum bear witness or receiving a prestigious award.
Be able to justify all price increases with facts. Don't enhance prices arbitrarily based on how you lot feel, on what another creative person does or considering you think your prices have been the same long enough. Always have a adept reason. And exist careful not to alienate your collector base by getting too expensive to fast; always recall those faithful fans who've been ownership your art and supporting you the longest. Never cost them out of your market.
OK. We're washed. Y'all've got your fine art priced and you lot're ready to sell. But tin you answer the big question: "Why is this one priced at $2000?" When someone asks you lot about a price, do exactly what the galleries do. Evidence that y'all've been regularly selling comparable art for dollar amounts comparable to what you're charging for the art they're asking virtually. Talk about sales you've fabricated through dealers, galleries, online or straight out of your studio. The more similar sales you lot can talk about, the ameliorate your chances of convincing the asker that $2000 is a fair price to pay for the fine art and that they're getting their money's worth.
People desire show; they want to feel confident about spending all the same much coin they're about to spend. They want to empathize what they're getting in exchange for their cash, and experience like they accept some degree of command over the state of affairs. This is especially true for buyers on the fence who don't know your work that well or who oasis't bought a lot of fine art and are just starting out. And so back up your prices with facts. People intendance most how they spend their money-- they want to feel like they're spending it wisely. Show them they're doing the right affair, that your art is worth what yous're selling it for, that other people buy it, and that its OK for them to buy information technology too.
Withal not sure how to toll your art? Artists hire me for price consults all the time (usually merely costs $75). Not only do I price your art, but I also tell you lot how to explain your prices to potential buyers in linguistic communication they can empathize and appreciate. People who empathize your prices and see the value in your work buy more art than those who don't. It's just that simple. Desire to make an appointment? Phone 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
0 Response to "How Much Is an Art Studio Worth to a Business Buyer?"
Post a Comment