Click here to see this email on the web |  | Thursday, October 26th, 2023 | | How to Make a Living with Your Art | By Jill Stefani Wagner | Share this article:     |  | Jill Stefani Wagner, River Radiance, pastel, 12" x 9"
| When I first dipped my toes into the world of becoming a professional artist, I must admit I was a bit naive. Looking back I realize I had the silly notion that "If you paint it, they will come." Duh, not so much.
Over the years I've learned that for most painters, making a living from art is a multi-layered challenge. Depending on just one way of creating income is precarious… and downright scary at times. So, in self-defense, I've spread my efforts across various opportunities to keep the cash coming in.
The number one task is always to create. I know obvious, right? But it must be said. I paint ALL THE TIME both en plein air and in the studio. And I do it for many reasons. First, I love it to death and can't live without it. Second, painting constantly improves my work. Third, even though I sometimes feel overwhelmed by the number of canvases that pile up, I must keep inventory in stock. And you never know what subject matter an art lover might be looking for.
|  | Jill Stefani Wagner, pastel | Then I try to monetize those paintings through various outlets and products:
1. GALLERIES: In this time of dwindling brick and mortar galleries, I am lucky to be represented by 4 fine art establishments. I consider them my partners and do everything I can to make selling my work easy for them.
2. ART CONSULTANTS: Over the years many art consultants from around the country have contacted me to provide original or printed art for their projects in hospitals, restaurants, corporate offices, residences and even cruise ships.
3. PLEIN AIR FESTIVALS: My personal obsession with painting outdoors has led me to an exciting life of participating in festivals in many gorgeous locations. Between the awards given and art sold, it's been a lucrative experience for me.
4. I enter 10-20 (mostly national) competitions each year. When accepted, these shows boost my income with awards and sales, but also help promote my work to a larger audience. Many galleries also keep an eye on competitions when considering accepting a new artist. | — advertisement — |  |  | Jill Stefani Wagner, Bella Toscana, pastel | 5. SOLO AND GROUP EXHIBITIONS: I try to do a solo show of my own work every couple of years, but also exhibit in events with other artists.
6. TEACHING (WORKSHOPS and DEMONSTRATIONS): I've started teaching workshops and giving demonstrations recently and have been honored to be faculty at the Plein Air Convention in five times. These events often result in painting sales and allows me to meet new collectors.
7. COMMISSIONS: I've heard that many artists don't enjoy doing commissions. But I value the opportunity to meld my skills with a patron's vision to create a unique piece of art.
8. STUDIO VISITS: I hold Open Studio Hours during the Holiday Season but invite art lovers to make appointments to visit my studio any time!
9. PRINTS: Many of my paintings have been photographed in super high resolution, which allows them to be printed in tiny and huge sizes. I know that reproductions may be considered "crass" by some painters, but I find they provide welcome income in times of slow art sales. |  | Jill Stefani Wagner, Bread Line, oil |
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10. NOTE CARDS and CALENDARS: I have these items available for sale but also use them as thank you gifts to art patrons and others who help get my art out to the world. With my contact information on the back of each, they also serve as promotion pieces.
11. WEBSITE: This is by far my most valuable asset. I regularly receive inquiries and sales from my site, often from people I've never met. Galleries, competitions and festivals also check in to evaluate my work online.
I haven't even touched on advertising and social media which also bring in many interested art patrons. And mailing lists, and, and… But you can see that this art career requires a multi-pronged and quite time-consuming approach!
| Jill teaches her approach to painting with pastels in two Streamline videos currently available as a specially priced combo. If you need a need a good mentor to pull that talent out and inspire you to practice it daily, check out Jill's teaching videos here. | — advertisement — |  | Richard McKinley: When Alla Prima Just Feels Right |  | Richard McKinley, "Cliffs of Goleta," 2074, pastel, 12 x 18 in. Private collection Plein air
| "The coastal cliffs at Goleta Beach, California, are one of those painting sites that I call 'an old friend'," says Richard McKinley. "Having made dozens of paintings from this vantage point, over several decades, has led to familiarity.
"I've always been intrigued by the play of positive and negative spaces throughout the landscape. The rhythm and texture of the stone cliffs, clinging vegetation, and majestic eucalyptus trees provide the main attraction.
"On this occasion, a direct alla prima application of pastel just felt right. To facilitate this, I selected a warm-toned, mid-value pastel paper. Letting the paper show through helped to unite the scene and set a good foundation for the tactile pastel marks.
"I try to think of the underpainting, or undertone, as the cake, and the pastel as the icing. If I start with the icing and try to shove cake underneath it, it becomes a mess."
| Join Eric Rhoads on the journey of being a better painter with The Plein Air Podcast, and turn your artistic abilities into a sustainable income with the Art Marketing Podcast. Subscribe now at ArtPodcasts.com and listen to Plein Air Podcast Episode 105: Richard McKinley on Painting Landscapes in Nature here. | — advertisement — |  | — advertisement — |  |
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