, not hobbyists. If you are interested in entering this lucrative market, it is important to put your best foot forward when submitting your work to a print publisher. Your presentation should include, but is not limited, the following:

1) Good quality slides or photos of your work (unframed)
2) Slides or photos with, at minimum, your name and phone number
3) Cover letter on you letterhead
4) Biographical information, if available
5) If possible, include a four-color brochure of your art
6) SASE, Self Addressed Stamped Envelope, for the return material.

It is important to emphasize professionalism every step of the way as you deal with publishers and potential buyers. For example in the four-color brochure listed above, take special care with its development. A brochure of your work is a professional statement to a publisher, and you want it to be the best it can be.

I have personally developed literally hundreds of professional presentations for professional artists, and all

There are many reasons why artists are attracted to the print market. First and, perhaps, foremost is the fact that publishing your art makes it available and affordable to the widest audience in the shortest period of time. In a matter of weeks after publication, a limited edition art print is in a position to be seen and purchased by galleries, distributors, collectors, print dealers and a wide variety of art buyers. This type of exposure adds credibility and recognition for you, your art and your career. The print market is probably the most profitable market for the visual artist.

The dramatic growth of the print market has been extraordinary. Just a few years ago there were only a handful of publishers representing a few artists. Today, there are hundreds of publishers representing thousands of artists.

There are basically two ways to enter the print market, and you need to know about both. They are: Self-publishing and Royalty Publishing.

Self Publishing

Self-publishing means what is says – the artist creates, reproduces, and then markets his own images.

Many artists have attempted to self-publish their own work only to find that marketing their own product was too difficult and too time consuming. Most artists do what they do best, make art. They don’t necessarily have the skills and/or the inclination necessary to bring their product to market.

There have been a few self-publishing success stories, but most artists who have achieved success in self-publishing have done so by having significant help. It would be wise for you to have someone experienced in marketing to take charge of that end of the publishing process.

Right now, more than at any other time, it is possible for an artist to self-publish with less financial risk because of the Gicl?e process of reproduction. he Gicl?e process allows the publisher to “Print on Demand” which means that the whole edition does not need to be printed at the same time. This relatively new process (in the last 15 years) permits the publisher to print a reproduction one at a time if that is what’s desired. When a sale is made the print is made.

Even though this process is now cost effective, it still requires a proven aggressive marketing plan. So, don’t attempt to self-publish without one.

The Gicl?e process is of a very high quality and commands higher prices. There are several Gicl?e printers available to choose from: Finer Image Editions, One World Art. Others can be found either online or in any of the following publications: American Artist, The Artist’s Magazine, Art Business News, Art World News and D?cor Magazine.

Royalty Publishing

The most common and, usually, the most profitable way of getting your art into the print market is by signing with a Royalty Publisher. First, Royalty Publishers take all of the financial responsibilities of publishing an artist’s work. They then do everything that is required to reproduce, sell, market, promote and distribute the artist’s work. The artist is paid a royalty on all sales. Royalty publishing leaves the artist free to spend all of his/her time on the creative process. The relationship between the artist and a royalty publisher is very similar to that of an author and a book publisher.

When working with a Royalty Publisher you are actually licensing the publisher to reproduce specific images. Under the terms of most artist/publisher agreements the artist retains the original. The publisher pays the artist a specified percentage of the sales, plus a certain number of “Artist Proofs.” Other possible arrangements can be a one-time cash purchase and the rights to reproduce with no royalties.

You can find Fine Art Print Publishers and a current sampling of what is going on in the print market by subscribing to or getting a copy of D?cor Magazine, Art Business News or Art World News.

Artists are the essential ingredient for the print market since they create the product. Without the Artist there would be no art prints period. However, it is important to understand that print publishers prefer to work with professionals, not hobbyists. If you are interested in entering this lucrative market, it is important to put your best foot forward when submitting your work to a print publisher. Your presentation should include, but is not limited, the following:

1) Good quality slides or photos of your work (unframed)
2) Slides or photos with, at minimum, your name and phone number
3) Cover letter on you letterhead
4) Biographical information, if available
5) If possible, include a four-color brochure of your art
6) SASE, Self Addressed Stamped Envelope, for the return material.

It is important to emphasize professionalism every step of the way as you deal with publishers and potential buyers. For example in the four-color brochure listed above, take special care with its development. A brochure of your work is a professional statement to a publisher, and you want it to be the best it can be.

I have personally developed literally hundreds of professional presentations for professional artists, and all

e artist creates, reproduces, and then markets his own images.

Many artists have attempted to self-publish their own work only to find that marketing their own product was too difficult and too time consuming. Most artists do what they do best, make art. They don’t necessarily have the skills and/or the inclination necessary to bring their product to market.

There have been a few self-publishing success stories, but most artists who have achieved success in self-publishing have done so by having significant help. It would be wise for you to have someone experienced in marketing to take charge of that end of the publishing process.

Right now, more than at any other time, it is possible for an artist to self-publish with less financial risk because of the Gicl?e process of reproduction. he Gicl?e process allows the publisher to “Print on Demand” which means that the whole edition does not need to be printed at the same time. This relatively new process (in the last 15 years) permits the publisher to print a reproduction one at a time if that is what’s desired. When a sale is made the print is made.

Even though this process is now cost effective, it still requires a proven aggressive marketing plan. So, don’t attempt to self-publish without one.

The Gicl?e process is of a very high quality and commands higher prices. There are several Gicl?e printers available to choose from: Finer Image Editions, One World Art. Others can be found either online or in any of the following publications: American Artist, The Artist’s Magazine, Art Business News, Art World News and D?cor Magazine.

Royalty Publishing

The most common and, usually, the most profitable way of getting your art into the print market is by signing with a Royalty Publisher. First, Royalty Publishers take all of the financial responsibilities of publishing an artist’s work. They then do everything that is required to reproduce, sell, market, promote and distribute the artist’s work. The artist is paid a royalty on all sales. Royalty publishing leaves the artist free to spend all of his/her time on the creative process. The relationship between the artist and a royalty publisher is very similar to that of an author and a book publisher.

When working with a Royalty Publisher you are actually licensing the publisher to reproduce specific images. Under the terms of most artist/publisher agreements the artist retains the original. The publisher pays the artist a specified percentage of the sales, plus a certain number of “Artist Proofs.” Other possible arrangements can be a one-time cash purchase and the rights to reproduce with no royalties.

You can find Fine Art Print Publishers and a current sampling of what is going on in the print market by subscribing to or getting a copy of D?cor Magazine, Art Business News or Art World News.

Artists are the essential ingredient for the print market since they create the product. Without the Artist there would be no art prints period. However, it is important to understand that print publishers prefer to work with professionals, not hobbyists. If you are interested in entering this lucrative market, it is important to put your best foot forward when submitting your work to a print publisher. Your presentation should include, but is not limited, the following:

1) Good quality slides or photos of your work (unframed)
2) Slides or photos with, at minimum, your name and phone number
3) Cover letter on you letterhead
4) Biographical information, if available
5) If possible, include a four-color brochure of your art
6) SASE, Self Addressed Stamped Envelope, for the return material.

It is important to emphasize professionalism every step of the way as you deal with publishers and potential buyers. For example in the four-color brochure listed above, take special care with its development. A brochure of your work is a professional statement to a publisher, and you want it to be the best it can be.

I have personally developed literally hundreds of professional presentations for professional artists, and all

duction one at a time if that is what’s desired. When a sale is made the print is made.

Even though this process is now cost effective, it still requires a proven aggressive marketing plan. So, don’t attempt to self-publish without one.

The Gicl?e process is of a very high quality and commands higher prices. There are several Gicl?e printers available to choose from: Finer Image Editions, One World Art. Others can be found either online or in any of the following publications: American Artist, The Artist’s Magazine, Art Business News, Art World News and D?cor Magazine.

Royalty Publishing

The most common and, usually, the most profitable way of getting your art into the print market is by signing with a Royalty Publisher. First, Royalty Publishers take all of the financial responsibilities of publishing an artist’s work. They then do everything that is required to reproduce, sell, market, promote and distribute the artist’s work. The artist is paid a royalty on all sales. Royalty publishing leaves the artist free to spend all of his/her time on the creative process. The relationship between the artist and a royalty publisher is very similar to that of an author and a book publisher.

When working with a Royalty Publisher you are actually licensing the publisher to reproduce specific images. Under the terms of most artist/publisher agreements the artist retains the original. The publisher pays the artist a specified percentage of the sales, plus a certain number of “Artist Proofs.” Other possible arrangements can be a one-time cash purchase and the rights to reproduce with no royalties.

You can find Fine Art Print Publishers and a current sampling of what is going on in the print market by subscribing to or getting a copy of D?cor Magazine, Art Business News or Art World News.

Artists are the essential ingredient for the print market since they create the product. Without the Artist there would be no art prints period. However, it is important to understand that print publishers prefer to work with professionals, not hobbyists. If you are interested in entering this lucrative market, it is important to put your best foot forward when submitting your work to a print publisher. Your presentation should include, but is not limited, the following:

1) Good quality slides or photos of your work (unframed)
2) Slides or photos with, at minimum, your name and phone number
3) Cover letter on you letterhead
4) Biographical information, if available
5) If possible, include a four-color brochure of your art
6) SASE, Self Addressed Stamped Envelope, for the return material.

It is important to emphasize professionalism every step of the way as you deal with publishers and potential buyers. For example in the four-color brochure listed above, take special care with its development. A brochure of your work is a professional statement to a publisher, and you want it to be the best it can be.

I have personally developed literally hundreds of professional presentations for professional artists, and all

tist free to spend all of his/her time on the creative process. The relationship between the artist and a royalty publisher is very similar to that of an author and a book publisher.

When working with a Royalty Publisher you are actually licensing the publisher to reproduce specific images. Under the terms of most artist/publisher agreements the artist retains the original. The publisher pays the artist a specified percentage of the sales, plus a certain number of “Artist Proofs.” Other possible arrangements can be a one-time cash purchase and the rights to reproduce with no royalties.

You can find Fine Art Print Publishers and a current sampling of what is going on in the print market by subscribing to or getting a copy of D?cor Magazine, Art Business News or Art World News.

Artists are the essential ingredient for the print market since they create the product. Without the Artist there would be no art prints period. However, it is important to understand that print publishers prefer to work with professionals, not hobbyists. If you are interested in entering this lucrative market, it is important to put your best foot forward when submitting your work to a print publisher. Your presentation should include, but is not limited, the following:

1) Good quality slides or photos of your work (unframed)
2) Slides or photos with, at minimum, your name and phone number
3) Cover letter on you letterhead
4) Biographical information, if available
5) If possible, include a four-color brochure of your art
6) SASE, Self Addressed Stamped Envelope, for the return material.

It is important to emphasize professionalism every step of the way as you deal with publishers and potential buyers. For example in the four-color brochure listed above, take special care with its development. A brochure of your work is a professional statement to a publisher, and you want it to be the best it can be.

I have personally developed literally hundreds of professional presentations for professional artists, and all

, not hobbyists. If you are interested in entering this lucrative market, it is important to put your best foot forward when submitting your work to a print publisher. Your presentation should include, but is not limited, the following:

1) Good quality slides or photos of your work (unframed)
2) Slides or photos with, at minimum, your name and phone number
3) Cover letter on you letterhead
4) Biographical information, if available
5) If possible, include a four-color brochure of your art
6) SASE, Self Addressed Stamped Envelope, for the return material.

It is important to emphasize professionalism every step of the way as you deal with publishers and potential buyers. For example in the four-color brochure listed above, take special care with its development. A brochure of your work is a professional statement to a publisher, and you want it to be the best it can be.

I have personally developed literally hundreds of professional presentations for professional artists, and all of them included a four-color brochure. It is always advisable to get help from a consultant that specializes in this type of service. After all, with all the “Blood, Sweat, and Tears” that an artist puts into a piece of work, getting too frugal with the “Publishing Phase” can make the difference between success and failure.