advertising Archives | Carol L. Douglas

What’s the next social media marketing trend?

Last month I spent a few hours with Kicki Storm, who excitedly told me about the potential she saw in Instagram reels. I was buried in bubble-wrap at the time and more focused on getting a mountain of paintings into a U-Haul trailer. My pal Bobbi Heath, who carefully follows social media marketing, has talked to me about lookalike audiences for Facebook paid ads. I’ve tried them, but not to great success.

Ralph Waldo Emerson is credited with saying, “Build a better mousetrap, and the world will beat a path to your door.” I doubt that was true in the late 19^thcentury and it’s certainly not true today. The successful artist has always had one eye focused on self-promotion.

Apple Tree with Swing, available.

Like you, I’m overcommitted, overstressed, and overwhelmed. There are lots of people out there interested in taking my advertising dollars, and I don’t have the market savvy to measure their claims. How do I negotiate this constantly-shifting landscape and still have time to paint?

The people who work in the field recommend that small businesses spend anywhere from 7-8% of their gross revenue on marketing. In actual fact, small businesses tend to spend more like 3-5% of gross revenues on advertising. That includes everything to put out their message, such as website hosting, Mailchimp, and other recurring costs. But it also inevitably means paid ads.

Spending that kind of money when you’re starting out can seem overwhelming, and it’s tempting to fall back on organic social-media marketing, which—by the way—is invaluable. But it’s an inevitable part of growth that you’ll need to learn about paid advertising somewhere along the way. The trouble is, there’s no easily-digested textbook.

Owls Head Fishing Shacks, available.

I’m seeing a shift in my advertising results this year, a decline in response. This may be an economic problem, as there are worrisome issues that might give people pause about big-ticket purchases. But it’s enough of a shift that I’m looking at different ad platforms, including print media.

Ten years ago, I thought print advertising was moribund, but I’ve noticed that I see consistent results from the Maine Gallery Guide. That’s emboldened me to dip my toe back into other print advertising.

At the same time, the cost-per-click on Facebook continues to rise. According to Wordstream , the average cost-per-click is now $1.72. That may not be a big barrier to LL Bean, but it is to an artist.

What Facebook used to be able to do superlatively was target customers. However, a global shift toward consumer privacy has made Facebook targeting more difficult.

Belfast Harbor, available.

As Facebook has grown into the juggernaut it is today, fine artists are now too small a market-niche for targeting. There aren’t even categories of ‘landscape workshops’ or ‘plein air painting’ in their current interest groups. When we tell it to match for people who are ‘interested in art,’ that’s too broad a brush.

Where does this leave us? Looking elsewhere. And that includes niche publications directed at artists.

Years ago, Bobbi Heath told me to never neglect my own lists. This shift in marketing is a strong reminder to build up your own lists so you can market directly from them. And I’m the pot-calling-the-kettle-black on this, because I haven’t had a sign-up box on this blog since the start of the year. I’ll get to it, I swear.

Think the world is going to beat a path to your door just because you’re brilliant? Think again.

Blueberry barrens on Clary Hill, by Carol L. Douglas. Every residency and event is a bullet point for your resume, but more importantly, a chance to be noticed.

“I read your recent post on business realism,” a reader wrote me. “I think I paint well, but I can’t seem to get any traction in the current marketplace. I’ve lost two galleries this year, and that really hurt. What am I doing wrong?”

The art market is morphing, and this reader was right when he added, “there’s no clear path forward.” His loss of gallery representation may have nothing to do with him, but with rapid change in the marketplace.

I know this painter’s work. It’s as fine as anyone’s out there, including many painters making a very juicy income. Why are their paintings selling and his not?

The bottom line is, he’s not nearly as well-known as he ought to be. While he’s painted with some of the big names in the plein air business, that hasn’t given him a particular leg up. Networking is important, but it only takes you so far.

Athabasca Glacier, by Carol L. Douglas. Want people to be interested in you? Do interesting things, preferably without killing yourself.

Do you want it enough to go for it? That makes marketing your primary job. Some people are offended by that, but unless you were born into the upper crust like Édouard Manet, you’re going to have to work to make connections. A better model is Frederic Edwin Church, who embraced, rather than rejected, his father’s bourgeois business model. Nobody can say that Church sacrificed his artistic goals.

You don’t necessarily have to be a starving artist to want to market yourself. I have a friend who’s fascinated by the uncharted machinations of a career in art. After a career in business, she wants to ‘crack the nut’ and figure out how it’s really done.

Spruces and pines on the Barnum Brook Trail, by Carol L. Douglas. This was painted at ADK Plein Air. To have a following, you must be seen.

It’s not about whether you can paint or not. The late, unlamented Thomas Kinkade is just one of a long line of incompetent painters who parlayed an artistic vision into money. I’m not encouraging you to paint terribly, but I am telling you to stop beating yourself up because you’re “not good enough.”

It helps to be young and beautiful. If you’re no longer either of those things, you need to be witty and fascinating instead. A hippie friend once watched me doing my self-care routine. “Why do you do those things to yourself?” she asked in amazement. I can’t be young anymore, but I can be attractive.

You have to be willing to exploit social media. I know you don’t see the point of Instagram and Facebook, but it’s critical to a profile in the modern world. If you don’t have a clue how to do this, find a book or a webinar and learn. Your website is still important, but it’s the catchment basin for all those other things.

Teaching is a great way to get your name out there, but for heaven’s sake, don’t do it unless you can actually teach. The world doesn’t need any more incompetent teachers.

You need a real-world presence somewhere. You’re going to have to do plein air events, tent shows, be in a cooperative gallery, or have gallery representation. You’re going to have to pull up your big-boy paints and go to openings. (This is the hardest thing for me—not because I don’t like people, but because my bedtime is 7:30 PM.) One real-world contact is worth a thousand internet hits.

You need to plug away, a little every day. Running a $1500 ad in a collector magazine is not going to net you anything if you haven’t done incremental publicizing in advance. Press releases, openings, studio parties, blogs, and emails to your collectors are the heart of modern publicity.

Category: advertising

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