Let’s follow the money (or lack thereof)...

A typical limited edition is on the order of 250 copies.  The target market is the collector, and therefore demands superior quality raw materials and engineering.  That pretty much rules out color copy.  The remaining processes (e.g. lithograph, serigraph, layered inkjet, or Giclee [zjee’-clay]) vary between $4 and $70 per copy to produce, depending upon size and quality, with the most common lithograph process running about in the middle.

 

A newly emerging artist can expect to price limited works between $35 and $90 and can expect to earn between 5% and 15% of margin working through an established marketing firm.  For example, if the artist is able to assert a high quality lithograph service onto the publisher at, say $20 per copy, and the work sells for $50 per copy, the artist can expect to earn between 5% and 15% on the $30 margin, or between $1.50 and $4.50 per copy.  Now, give Uncle Sam 40%, and the artist pockets about $300 for the entire run.

 

Or, an emerging artist can create works for hire for marketing firms by giving up their exclusive rights and having their art subjects dictated.  In this work-for-hire model, the artist retains no rights, but usually receives a single lump sum payment which can typically range from $100 to $750, depending on the depth of work and if the artist has already established a track record of sellable works with the firm.  Meanwhile, the firm may elect to mass produce unlimited low-quality color copies, and generate incredible revenues by leveraging their volume distribution channels.  The artist typically receives no royalties in such a case, but might receive a few Artist Proofs (say 10 to 25) for personal use, which could represent a small commodity market to the artist.

 

Kevin portends that art is a labor of love and not much of a revenue generator for a beginner who lacks high resolution production equipment and sales distribution channels.

It is rare to set up a business, advertise in a saturated market, and promote art products to produce a meaningful financial profit.  Kevin has no illusion about defining his art endeavors in terms of fiscal business drivers.  His pricing model follows that of the industry, and his Limited Edition business model suggests built-in revenue capitation.  So why go through the hassle of setting up shop, exposing oneself to negative criticism, and wagering personal startup capital on such a risky business proposition?

 

Perhaps the most compelling reason for Kevin to consider entering the art marketplace is to share joy on a bit wider scale.  His wife, friends, family, neighbors, and local business owners have all had profoundly positive reactions to Kevin’s work, and he feels that it’s time to expand that audience, show a few pieces in formal settings, and see what happens.

 

And finally, it’s a huge creative outlet for Kevin where the end product can be readily viewed and enjoyed by an audience.