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Author: Scott_Burkett, Contributing Editor
| What prompted you to begin selling smaller pieces?
Eliza Leahy: To get a name on Ebay and get feedback that show my reliablity. It's like starting a business; you might have to take a loss to start with to get your name known and build a client base. Phyllis Franklin: Some friends asked me why I didn't reproduce my works so that they could afford some. They also wanted some of my work, but did not want to pay much. Arlene Steinberg: I started selling smaller items when I was at several art fairs and wasn't making enough. I realized I needed an item under $100. The idea of flowers came to me one day when looking at a friends tiny floral prints. When I switched to colored pencil of course I just continued with small items, as people want to have what you make, but not all can afford it. Charissa Thomas: I have always worked fairly small with the exception of murals and a few large oil pieces from time to time. Sandra Fletcher: I began these watercolour nudes specifically for selling on Ebay. Primarily I work in pastel but I did not want to sell pastels over the internet because of the difficulties in shipping - do you ship them framed? (which would cost more) or unframed? (and risk damage to the vulnerable picture surface). A small sheet of watercolour paper is just so much easier to deal with. I also knew that, on Ebay, it would be difficult to realize the prices my larger works sell for and I did not want to undercut my non-internet venues. So I knew I needed a different type of work for that market. Judy Lalingo: I attended the International Miniature Art Exhibition in Toronto in 1987, and was both amazed and inspired by the work presented there. My first thoughts were a desire to try working that small... I've always had more ideas than the time to paint them and this looked like an effective way to get more of my ideas expressed in paint. Linda Blondheim: I really like small paintings! :) |
| "Gazebo at Vinoy Renaissance Hotel", 6x8, oil on linen, Linda Blondheim
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| How has selling smaller works affected your overall business?
Eliza Leahy: My eyes are hurting from squinting! But they sell, so it's a turnover even if it's not enough to live off of yet. Phyllis Franklin: I don't sell many larger works each year. Having the note cards and gift baskets available has been a fun thing to do and I get the satisfaction of knowing that they are filling a need. It also keeps me creating more things to add to the baskets other than the reproductions of my paintings. I have not experienced artist's slump since I've been doing these. Arlene Steinberg: For now it's helped...at some shows it has been most of my income. Charissa Thomas: I am able to keep more inventory on hand, and I find people are fascinated by how much detail I am able to get into such small works. Since the prices are lower the sales are higher. Sandra Fletcher: Selling these smaller works has provided me with a small, but not insignificant, regular income. It's great to have a regular cash flow rather than having to wait for the exhibitions I do throughout the year. They have enabled me to reach a new, larger market at a time when consumer spending in the UK is very slow. Judy Lalingo: Because smaller works are quicker (for me) to produce, I can build more inventory for a show, with a wide range of prices to fit any budget. If someone loves my work, but isn't in the position to pay $2,000 or more for a larger piece, they're more likely to purchase a small painting for a fraction of that price. Although I do have reproductions, the sale of a small work is usually an indication that the collector will be interested in more of my original work in the future. I've found that reproductions & originals are usually two entirely different markets. And, of course, the sale of a couple of small originals is better than no sales at all. Linda Blondheim: I usually sell either large paintings or small. Medium sized paintings have never sold well for me. |
| "Elk Dancer", 6" copper etching printed on Somerset Velvet, Charissa Thomas |  |
| What artistic challenges (if any) did you discover when moving to smaller surfaces?
Eliza Leahy: Using smaller brushes and brush strokes. The watercolours aren't so bad, but going from big oils to small acrylics hurt! Arlene Steinberg: How to say the most and how to get the detail I enjoy doing in such a small space. Sandra Fletcher: Most of the artistic challenges have been to do with changing mediums rather than to do with working smaller. To begin with, I worked small because I did not have the confidence with watercolour to work larger. Now I feel that I could work larger but the smaller size is more convenient. When the model takes up a pose, I often find I am in the wrong spot - they're lying down and all I can see are feet or the lighting is better from another view point. So, I move but I do not want to bother everyone by having to move a lot of equipment. Working on a small half sheet means I can balance everything I need, including my paints and water, on the watercolour pad and work standing up if necessary. Judy Lalingo: I love painting small. I actually learned a lot from painting in this scale. Sometimes my only problem is finding 5/0 brushes. ;) |
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