Art of advertising pdf

They also use it to customize the products based on the feedback received from the children, as they are their intended target audience. It further helps them in adding more value, deriving more consumer satisfaction which leads to increased brand preference. Children below the age of five years find difficulty in differentiating the television programmes and advertisements whereas children below the age of eight years face difficulty in understanding the persuasive nature of advertisements.

They are not able to comprehend the biased nature of the advertisement. They believe that the characters or celebrities shown in the advertisement uses the advertised products in their real life Saraf These factors contribute to create an impression of advertising on children.

They use drawings to express their feelings, emotions, and perception of the world around them. Sometimes, when they are short of words, they try to express themselves through their drawings. Children drawing also serves as a communication medium between the creator and viewer.

Children communicate and express their thoughts which they have in their conscious or subconscious mind through these drawings Anning and Ring At the same time, viewers may understand and decipher these young artists personalities through their drawings. Forms, colours, shapes, composition, and various other components in their drawing talks about their personality. These components of visual art composition or graphic elements are somewhat common. This shows an interrelation between child art and advertisements in visual or audio-visual formats.

Various visual components play an important role in making the advertisements effective. Sometime the slogans or jingles are so catchy, that they create a long-lasting impact on the consumers or prospects. Whereas, if we talk about the visual elements of advertisements, the amalgamation of text and graphics helps in generating feelings, emotions, and actions Eynullaeva and Woodward- Smith Graphic elements play an important role in both child art and advertisements.

Therefore, I have used them as a tool to decipher the impression of advertising on children which might not be communicated through words but is visible in their drawings. In this research, I tried to extract these uncommunicated thoughts and expressions in the mind of children in context to advertising.

In this research, 30 children of years of age were involved. The age- wise distribution of children is shown in Figure 3: Figure 3 They were asked to create drawings by using pencil, black pen, or a black marker.

They were free to draw anything which they thought as their favourite. Out of 30 children, 21 drew products in their drawings out of which 18 drawings were of the branded products or famous characters. The categorization of drawings made based on materialistic and non-materialistic values is shown in Figure 4.

The further categorization of materialistic or product-based drawings into branded and non-branded product is shown in Figure 5. Tiwari Figure 4 Figure 5 They either copied the character as it is or, they wrote the brand name on the product in their drawings. This shows a clear impression of branding and advertising on children. Apart from this, I also asked a few questions from the children regarding their drawings.

Since the questions were spontaneous and based on the drawings made by the children therefore there is no specific questionnaire for this research. What do they like about it? How they come to know about it? And the answers were such: they like the product because their friends like it, which shows the peer influence. Whereas, others said, they like the product itself. Also, they like the advertisement of the brand. Some even said that they like the colours of the brand such as Maggi — red and yellow, contrasting colours attract them.

The research also shows that the advertising promotes materialistic values. In a survey, it has been found that the teenagers and tweens have become one of the most brand oriented and materialistic generation. It is highest as compared to other countries Schor Rest of the drawings were related to products. It was visible in their drawings.

Children are becoming more brand aware and brand conscious day by day due to the increasing media exposure. Tiwari concern. They use various innovative and creative methods to attract children and persuade them. Sometimes they target them to pester their parents, which may affect the parent-child relationship in a negative manner. The increasing materialism amongst children is also alarming as it may impact their emotional well-being and relations.

Making sense of children's drawings. Arnheim, R. California: University of California Press. Blades, M. Palgrave Macmillan. London:Lawrence Erlbaum Associates, Inc. Hurwitz, A. Thomson Wadsworth. A new theory on children's drawings: Analyzing the role of emotion and movement in graphical development. Infant Behavior and Development, 39, Born to Buy: The commercialised child and the new consumer culture. New york: Scribner. Sharma, P. Semiotic analysis of Indian television.

They draw what they see around them, whether physically or virtually. Media also influence their drawings because they get exposed to many visual forms through various media such as print, online, outdoor, television, and so forth. During their middle childhood, they start copying their favourite cartoon characters and use them in their drawings to depict themselves. Some children create their own character which depicts their fascination about a particular thing or helps them in depicting their fantasy world.

Figure 2 3. Reach of the advertisers to prospects and consumers have increased drastically due to the explosion of media. Now advertisers have access to various creative and innovative media forms.

It helps them in making their advertisements more creative and interesting. This increased reach of media made it easier and more flexible for the advertisers to reach children in their personal time. The influence of advertisement on children varies based on their age. In the early childhood, children do not understand the difference between advertising and communication. Whereas, during the middle childhood they start understanding that the purpose of advertising is to sell Blades et al.

However, they find Ads interesting, but they are not able to differentiate between the reality and the advertisement. Tiwari advertisement are true and real. During the age of adolescence, they start understanding the purpose and the intention of the advertisements.

They also start acting and behaving like consumers. Apart from media explosion, the other factor which contributes to the increased advertising for children is the private and easy accessibility of media.

Especially, through television and Internet. Most of the children have television in their rooms even some of them have their personal smartphone, tablet, laptop, or computer. In this scenario, the parents cannot monitor or supervise them all the time. This is a matter of concern. Media like Internet, which is interactive in nature, raises concern regarding advertisements and advertising practices. Marketers and advertisers try to target children to conduct market research and to seek information through creative surveys and questionnaires.

Which, they later use it to enhance the consumer experience. They also use it to customize the products based on the feedback received from the children, as they are their intended target audience. It further helps them in adding more value, deriving more consumer satisfaction which leads to increased brand preference. Children below the age of five years find difficulty in differentiating the television programmes and advertisements whereas children below the age of eight years face difficulty in understanding the persuasive nature of advertisements.

They are not able to comprehend the biased nature of the advertisement. They believe that the characters or celebrities shown in the advertisement uses the advertised products in their real life Saraf These factors contribute to create an impression of advertising on children.

They use drawings to express their feelings, emotions, and perception of the world around them. Sometimes, when they are short of words, they try to express themselves through their drawings. Children drawing also serves as a communication medium between the creator and viewer. Children communicate and express their thoughts which they have in their conscious or subconscious mind through these drawings Anning and Ring At the same time, viewers may understand and decipher these young artists personalities through their drawings.

Forms, colours, shapes, composition, and various other components in their drawing talks about their personality. These components of visual art composition or graphic elements are somewhat common. This shows an interrelation between child art and advertisements in visual or audio-visual formats.

Various visual components play an important role in making the advertisements effective. Sometime the slogans or jingles are so catchy, that they create a long-lasting impact on the consumers or prospects. Whereas, if we talk about the visual elements of advertisements, the amalgamation of text and graphics helps in generating feelings, emotions, and actions Eynullaeva and Woodward- Smith Graphic elements play an important role in both child art and advertisements.

Therefore, I have used them as a tool to decipher the impression of advertising on children which might not be communicated through words but is visible in their drawings. In this research, I tried to extract these uncommunicated thoughts and expressions in the mind of children in context to advertising.

In this research, 30 children of years of age were involved. The age- wise distribution of children is shown in Figure 3: Figure 3 They were asked to create drawings by using pencil, black pen, or a black marker. They were free to draw anything which they thought as their favourite. Out of 30 children, 21 drew products in their drawings out of which 18 drawings were of the branded products or famous characters. The categorization of drawings made based on materialistic and non-materialistic values is shown in Figure 4.

The further categorization of materialistic or product-based drawings into branded and non-branded product is shown in Figure 5. Tiwari Figure 4 Figure 5 They either copied the character as it is or, they wrote the brand name on the product in their drawings.

This shows a clear impression of branding and advertising on children. Apart from this, I also asked a few questions from the children regarding their drawings. Since the questions were spontaneous and based on the drawings made by the children therefore there is no specific questionnaire for this research. What do they like about it? How they come to know about it?

And the answers were such: they like the product because their friends like it, which shows the peer influence. Whereas, others said, they like the product itself. Also, they like the advertisement of the brand. Some even said that they like the colours of the brand such as Maggi — red and yellow, contrasting colours attract them. Whether in a spontaneous moment or a planned meeting, valuing time for the person viewing the portfolio is smart and respectful.

While using your online art portfolio is useful to show your work in situations where you are not present, it's a good practice to have a downloaded version on your iPad or tablet.

Keep it with you whenever you can; you never know who you will encounter someone who is a potential buyer or referrer of your work. Artists must be selective in deciding which pieces to include in a portfolio.

It is counterproductive to overwhelm viewers with too many choices. Focus on those pieces that are most representative of the artist's newest and most excellent work. Creating a social media presence, learning to talk about one's art, and finding comfortable ways to meet and communicate with collectors and influencers are also essential skills that fall under the marketing art umbrella.

Today, the most well-known and successful artists maintain a presence on at a minimum on Facebook and Instagram. Few, if any, have robust activity on all those platforms. It is neither realistic nor pragmatic for artist-entrepreneurs to attempt to have an active presence on each of them.

Establishing a spot on each is an excellent suggestion. When claiming a place on a social media platform, always take the minimum steps of fully completing all fields that request information about the user. The glib but accurate answer is the one that gets results. While Facebook and Instagram are the largest and favorites, it's easy to find examples of artists who are using Twitter, LinkedIn, Pinterest to build awareness, interest, and desire to own their work.

There are too many courses on how to use each of these platforms. Try starting with Udemy as their courses are often on sale prices. They may not be as robust as some other offerings, but they will give you enough and more to learn if you wish to pursue putting your focus on a social media platform that has your interest.

The choice becomes personal, as the artist has an affinity for the platform, and the audience responds to the artist's marketing messages. Taking a less popular has the benefit of reduced competition. You can't go wrong, taking the sage advice of Yogi Berra, who famously said, "No one goes there anymore, it's too crowded.

Networking is about building relationships. It is about growing your business by developing personal and professional connections to create a continuous, steady supply of new business. Ask yourself how many people you know. Among those people, how many of them know what you do, that you are an artist? How many of these folks have directed prospects to you? And, of those opportunities, how many added to your bottom line by purchasing your art?

If your numbers are low on your responses, this is a beneficial thing in that you have many new prospects for buying your work. Networking is more than just showing up at the Chamber of Commerce or other local business-networking meetings, shaking hands, and collecting many business cards.

That doesn't work. Frankly, it never worked. Networking is about showing up with a particular goal in mind. It may be that you want to meet one or two people you do not know, but you think it might be helpful to you. It could be that you are attempting to reach a specific person, as in the "six degrees of you" exercise discussed in the previous chapter. Start with good intentions and use your continually improving networking skills to achieve your desired results.

Finally, follow up efficiently, so your effort pays off. Here are five benefits of networking for artists:. The opportunities you develop through networking go beyond these five points. It will increase your confidence and poise, further your reputation, and positively influence your art career in unforeseen ways.

Besides being low cost and low tech, networking is both practical and efficient in helping you reach precisely the right people. Networking will put you in touch with people who can do more than to buy your art or make introductions to influential connections for you.

It allows you to share your knowledge and gain the advice and wisdom of those who are both capable and ready to help you advance your career. As in life in general, success takes the assistance of others. Whatever you wish to call them, kingmakers, influencers, or mentors, some people step in to make enormous differences in the lives and careers of others who have grabbed their attention.

Whether you wish to get into a school, art fair, gallery, need a grant, or an introduction, someone other than the artist, must be in the equation. Networking is not glad-handing at Chamber of Commerce meetings.

It is an artist being open and available to meet and interact with influencers. The suggestion that success requires getting out of the comfort zone applies to networking for artists.

Just as with goals, knowing what you want, knowing who can help you reach your goals is hugely beneficial. The first step toward making contact with someone who can help an artist's career is to determine who they are. From there, it is a matter of degree of difficulty in reaching them. Target those who can help you and plan to get on the radar of that person through incremental steps of reaching out through all means available.

Artists have many ways to generate interest in their work. Arguably, nothing works better to help build ongoing intrigue from top art buying prospects than a blog. Besides keeping the connection open and engaging, blogging helps to build an email list that will include those most likely to buy from the artist. The E. When artists use a mix of posts that intend to entertain, delight, inform, and educate they give their communications multiple ways to keep readers engaged with them, their art, and their message.

It is a known fact that art buying is not spontaneous. A blog is the ideal tool to help artists retain a top position in the minds of buyers when they are open to buy and have a need or desire to own art from their favorite artist.

A blog makes it easy to introduce a lead magnet , which is an enticement to exchange an email address for something of value. Lead magnets with your blog provide one of the most efficient means of asking prospects to provide their email address. An artist's blog has the permission to send frequent communication. Using E. There are many ways to repurpose posts. Make an ebook or a physical book from a compilation. Published post are excellent examples of your work when pitching for guest blog spots.

They can be reposted in full on Medium. A well-written blog post can also be an SEO Search Engine Optimization tool helping to rank for valuable keyword phrases. Your website is your virtual real estate on the Internet. You have exclusive rights to that virtual space. No one can take it away, change the rules, or stop traffic from coming or buyers from buying. Your blog is your dynamic marketing arm for your website, which is static by comparison.

There are countless topics artists can use to write copy that is of interest to readers. Here is a blog post with a year's worth of topics to stimulate your creative brain. Artists are the brand. It is your name on your art, and it is your brand that drives recognition, prices, and sales.

The one thing you need to know is anyone can do branding. Deciding to start branding is your first step toward getting help on what to do and how to do it. The increased exposure and awareness for your art is a tangible benefit. And it all leads up to easier, faster, and more sales of your art. The truth of the matter is artists with a better brand do better in the business of art. If making the most of your art career is essential to you, then taking steps to power up your personal brand needs is crucial to your efforts.

Branding is more than iconic names and symbols like Coke and the Nike swoosh. It extends to the smallest units of retail sales, including solo artrepreneurs.

A brand is what people say about artists when they aren't there. By working on the brand, the artist retains the most control of the perceptions about them. In a void, where there is no branding effort, others will determine the artist's brand, good and bad. In the real world, the merit of your art for art's sake is not enough. People, patrons, critics, gallerists, jurists, and curators don't judge on skill alone.

With art, there is a subjective aspect to gaining awareness, acceptance, and sales. Your brand influences choices influencers and buyers make about your art and are integral to a thriving art career.

Yes, logo, color schemes, and font choices are part of an artist's visual branding, but it goes deeper. Having a "Why Statement," which can be part of an Artist's Statement, is quite helpful. It not only gives consumers a fuller understanding of what the artist's outward goals are; it also is a touchstone that guides artists to make the best decisions for themselves in building their business. Personal branding helps build your reputation as an artist and as a human. It also adds to your authority and authenticity as both.

The more different ways artists can establish themselves beyond the impressions their art makes on the world, the greater their odds of achieving their goals as an artist become.

You can see it and sense that all the components of art marketing work together. They each chip away at helping the artist establish themselves in the minds of people who matter to their career. As docents, gallerists, journalists, curators, collectors, patrons, benefactors, and casual fans notice strong similarities in those components that relate to the artist, the brand builds in ways that positively affect their opinions and decisions about the artist. Artists don't create success in a vacuum.

It takes those in positions of power to make decisions about their career. Powerful people must be motivated to do something with their power when it comes to getting into a school or a gallery, gaining access to grants or juried shows, or getting traffic to an artist's websites; other people's opinions matter. Your brand influences how they perceive both your art and you as the artist and person.

For these reasons, it's impossible to ignore the importance of working on branding as a critical part of establishing an effective art marketing plan. These two words sum up the power of storytelling and explain why it works—human interest. There are two more words in the form of a question that the best communicators use. So what? Plain facts, especially those taken out of context, are boring.

Do yourself a solid and resolve to do your best to quit bad habits that include finding reasons to avoid telling your Story. Your stories create conversations about you and your art when you aren't there. They are the best source of interesting tidbits your fans, patrons, journalists, and others use to describe your work in the most effective form of advertising ever created, which is marketing art by word-of-mouth.

Storytelling for artists is so useful and important I created an entire course on it, Personal Storytelling for Artists and Creatives. In an ideal world, buyers magically encounter your art, fall in love with it immediately, and whip out a credit card to buy it on the spot without knowing a single thing about the work or the artist who made it.

In the real world, buyers form opinions about things they buy, especially subjective and discretionary purchase items they buy infrequently. If all else is equal, buyers will choose the artwork with stories attached in nearly every case. When they know details about the work and the artist whose hand created it, they have a natural greater affinity toward the work they know better.

Word of mouth is the most potent form of advertising. A low budget film with lots of buzz coming from fans talking about it, The buzz will power the film to the top of the box office records. In contrast, a big-budget movie that fails to capture its intended audience's attention will fail despite an outsize marketing and promotional blitz. When your fans and collectors know your stories, they relish relating them to their friends and associates.

It gives artists an enormous edge and a huge push to get over the Know, Like, and Trust hurdles that all products face in the buying process. Stories fit into the Attention, Interest, Desire, and Action continuum we covered at the beginning of this guide. Self-awareness is a great reward even when the reality it presents is painful to accept. In the case of visual artists attempting to figure out the best course of action to get their work to market to meet their desired outcome, having self-awareness is crucial.

It will assist you in knowing how to gauge situations with a fair degree of accuracy. When you research the work and careers of artists you admire, your self-awareness will feedback realistic perceptions to tell you if your artwork, work ethic, and ambition are sufficient to allow you to compete with them. That's not to say you may have doubts about your talent, suffer from the impostor syndrome, or have other real or imagined drawbacks that will keep you from reaching your goals.

Life is uncertain nearly always. Weird things happen. Artists with average talent and underperformer attitudes overachieve, while super talented overachievers repeatedly shoot past easy targets of opportunity.

Such situations are outliers, which is to say they are meaningless to you. Unfortunately, because they are outliers, they are more likely to have their stories known more widely, making them harder to avoid. Top marketers learn to ignore the news around outliers. They focus on what they need to do and how to accomplish their priority items.

The more singular their approach to managing their main concerns, the greater their odds of reaching their goals fast. Understandably, reading a lengthy overview of art marketing such as this one might be at once enlightening, inspiring, and intimidating.

If, by reading this, you feel overwhelmed by all the aspects of how to market art mentioned in this article, don't feel alone. Your reaction is normal. It is human nature to feel disheartened when the enormity of the tasks at hand seem impossible to get into one's grasp and under control.

You may take some small solace in knowing others recognize and relate to your feelings both about marketing art in general and the worry about how to establish, organize and execute a plan to fulfill one's goals. Nevertheless, you instinctively comprehend that a big part of your anxiety is knowing that getting things done falls to you. Putting uncommon situations aside, a self-aware, realistic evaluation of your goals and available resources, skills, and ambition is the key to success in your quest to art marketing success based on your needs and done your way.

Essentially, when you know what you want and believe you can achieve it by overcoming your doubts, continually improving your skills, and faithfully executing a well-devised plan, you put yourself on the path to success as you define it.

You became an artist because you are independent and don't like others telling you what to do. With that in mind, you should not let others identify what success means to you.

The answer is too personal to allow anyone other than you to decide. The process of reduction is a means to capture the essence of a thing, create a delicate intensity, and enhance what it is designed to complement. Such is the case when marketing art is done well as a solo entrepreneur.

Frequently, the best things come from reduction. A delicate sauce, a charming piece of visual art, an elegant musical interlude each gain their allure, relevance, and desirability because of what is left out. The exquisite essence from each example creates a compelling allusion of how the result derives from the slightest hint of its origins.

It's not what you see, taste, or hear, but the sublime remnants of what you don't that create such magic. Think of reduction as an analogy for art marketing done on your terms. You are only one person. You can't go in a kitchen — no matter how well it is equipped and supplied — and prepare a five-star meal by yourself on time.

But you can create the most delectable sauce reduced from a perfect blend of high-quality original ingredients. The advisable and straightforward course of action is to know yourself, know what you genuinely want from your creativity and skills at making art, and learn what tools and knowledge you need to help you cook up a career you like. From there, you need to know what pan and burner at what temperature, what prepared ingredients to add in what order, and how much time to create a fabulous, mouth-watering sauce that will delight the most demanding palate.

In the case of art marketing, think of goals, resources, tools, and techniques. While it's always true, there is too much to do, and too little time to do it, you can cast such worry aside. There is a better way. That is to take one step at a time using common sense based on a realistic plan that will lead to one small gain and then another. No artists are the same.

Some will want to learn about email marketing. Although it is highly advisable for all to learn the basics of email marketing quickly, others will jump to use social media platforms, get into galleries, or something else first. Doing something is more important than waiting to figure out what to do.

When the goals and tasks are reduced to doable daily actions, artists give themselves the best chance to succeed and achieve their greatest ambitions. The Art Marketing Toolkit is built to help you, no matter if you are brand new, well-established, young or old, the principles, ideas, and skills you learn will help you reach your goals and sell your work for as long as you wish to get your art to market.

You do it a step at a time. The way to enjoy the greatest, long-term success starts with having realistic goals and reducing the things to be done to their essence. The next step is to work on completing the most valuable tasks first. The art marketing strategy for success is incremental.

You learn one bit of useful knowledge and master one practical marketing skill in a repetitive pattern acquiring new knowledge and skills on a manageable timeline. Then you combine your knowledge and skills to take consistent small steps that lead to little victories. Piling up those victories is how you create milestone accomplishments that lead to reaching your desired outcome. You choose the adventure and the outcome you want.

Join today. Making sure you are happy you are satisfied with the artist masterclass, selling art online, and marketing art your way is our goal. This excerpt from Artmarket. As a result of the Covid pandemic in , the Art Market switched almost entirely to the Internet.

Another type of art marketing is carried out on the major auction blocks at Sotheby's, Christie's, and other fine art auction houses in New York, London, Hong Kong, East Asia, and other major art regions. They sell art worth millions of dollars to wealthy individuals, often through brokers. The contemporary art market dominates this scene, primarily selling works by living artists like Jeff Koons and relatively recently deceased artists, such as Andy Warhol. Some of the artists who enjoyed the most remarkable growth in auction house interest and sales since include KAWS, Mr.

Brainwash, and Banksy. Many of the top 50 artists, as ranked by Artnet in this period, were born in the last half of the 20th Century. It is difficult to imagine that the dealers and collectors of the s who were engaged in acquiring Van Goghs could have foreseen how street art would become a market mover powered by the rise in appeal of younger artists in the 21st Century.

Changes in the American art market and the global art market mirrored those in culture and society. The most monied collectors who bought the top of the market sought artworks representing diverse genres that held substantial price premiums.

That left the next level of affluent buyers to pursue the next best pieces available. Since the paintings and sculptures of living artists, such as Damien Hirst, and recently deceased, as with Robert Indiana, were in greater abundance than Van Gogh and Picasso's classic works, they grew in desirability.

From the late s well into the next century, there was a steady global growth in wealthy individuals. Their longing to show their sophistication and refined tastes drove demand to own artworks. To this class of buyers, contemporary art was more obtainable and offered other advantages over older art. Artists who worry over selling out via art marketing can take lessons from the contemporary art market. Global brands are eager to align with visual artists.

Their interests are further inspired by mass culture events and the increasing influence and fascination with celebrities. Contemporary fine artists found themselves working branding and licensing deals with Louis Vuitton, Absolut Vodka, Nike apparel, and footwear.