Professional Art Advice
(Part2)
4.More on major sales.
Last issue I raised the issue of people's memory. The implication was that if you were selling a major item, one that requires consultation with other people, then you'd need to provide memory aids rather than focus on selling techniques. Many art buyers will appreciate this kind of help.If several visits to the studio or gallery are necessary before a sale is made then sales techniques designed to close a sale at the first visit will be inappropriate and probably counter-productive. I'm sure you've been to a car showroom and encountered one of those pushy salesman who seem to frequent such places. After a few questions, the hard sell follows. If you are not ready to decide, that pressure will be irritating and may cause you to vow not to enter that place again ! This type of experience can be repeated in other situations, even some art galleries.Why does the salesman do this? Well simply it works, if the customer is ready to buy. In fact almost any approach works if the customer is ready to buy. But if the customer is not ready to buy then something different is needed. At the very least, contact must be maintained until the next visit.Usually large purchases involve bigger decisions from the potential customer.The psychology of the sale is different from the smaller, typically one-shot sale. In the small sale the buyer is less conscious of value. As the size of the sale increases, then the perception of value becomes increasingly important. A person will not buy at a high price unless they perceive it is also good value. Building a perception of value is more important than product knowledge in major sales. This doesn't mean product knowledge is unimportant, just that building value is more so. There jus~ has to be enough value to justify a larger decision. Most major sales involve an ongoing relationship with a client. This is not just because the potential customer needs several meetings to make a decision, but also usually post-sale support is required too. Thus it follows that many major sales are made from an existing client base, where minor sales can be made to one-off customers. This reality supports the gallery system's continued existence, particularly if they focus (there's that word again) on major sales. When you think about this aspect more, you'll realise that a customer is bn~mg a relationship as well as a product with higher priced sales. Who is doing the selling becomes as important as what is being sold. When making major sales these factors must be taken into account. As the size of the sale grows the client puts more emphasis on the sales person as a factor in the decision. The product and the seller may become inseparable. I'm sure you've seen this happen at leading art galleries, where the owner is as important as the artist's work in making high priced sales.ACTION MEMO
How can you build a perception of value about your artworks?
Which means you can use this information to increase your chances of making major sales.
5. Telephone techniques
Buying habits and selling techniques have changed in recent years. To-day shopping by phone is an everyday part of life, even for artworks! Because of this fact it is important to maximise the telephone as an effective sales tool. How you answer a call can make the difference between a sale and no sale. Answer your phone promptly. A delay may lose the caller, for seconds seem like minutes when you are on the end of a phone. A rule of thumb is to answer the phone by the third ring if at all possible. You should be prepared to talk to someone when you pick up the phone. No one likes to be left waiting while you finish other business. Keep any information you are likely to need near your telephone, so you won't have to run off and get them while the potential client waits. A typical answer would be along the lines of Good morning, Joe Bloggs Studios, this is Joe Bloggs speaking, how may I help you?' This saves your caller two questions (whether they have the right business and what is your name) and saves you time. Answer with enthusiasm, for on the phone you only have your voice to work with. People do not want to listen to an impersonal voice, so add personality too. Enthusiasm comes not just from what you say, but also how you say it. It's your studio, gallery, artwork, or whatever, that the client is asking about, so it shouldn't be too difficult to be enthusiastic. Many people become too formal on the phone without realising it. Put a smile on and it will show in your voice. Some people even have a small mirror nearby to remind them to smile. However you can make your voice warmer by concentrating on what you are saying. Speak clearly and pleasantly and you will radiate genuine interest when discussing your client's needs. When you have discovered the caller's name, write that down. In addition use it early in your conversation, to make sure you have it right. I'm partly deaf, so I usually require several attempts before get people's names right. In addition people like hearing their own name used in a conversation as it makes the call more personal. When you answer the phone you really should be thinking about your client's needs. Concentrate. Put aside any problems and focus on the client. Listen to what your customer says. Do only one thing at a time. Planning what to ask next while your client is speaking, keep an open mind. Don't argue, even mentally. Think like a client. Keep your client's point of view in mind. Don't jump to conclusions. Don't interrupt. Practice listening with everyone. Ask your caller questions before trying to meet their requirements. The more you know about the client's need, the better you can help them. By using open questions (can't be answered with a yes or no) you can find out what your callers like or dislike. You can note trends in taste and buying habits too. By finding Out what is important to your clients you'll also find ways to improve your business. Provide your client with any facts. Do not assume they already have the necessary information about such things as price, delivery, framing and so on. In addition, state how your client will benefit by dealing with you. There's a money back guarantee, or it's the only place you can buy a Joe Bloggs painting, for example. But keep everything simple too. Use familiar phrases and sentences. Avoid technical words, slang and exaggeration. People do not usually need to know that the paper you painted on is acid-free. At the same time be specific where necessary. I'll deliver you're new painting at 4pm, is better than ' I'll deliver your new painting as quickly as I can '.Make helpful suggestions. Don't hesitate to recommend other artists or framers if you feel they are more likely to meet the client's needs. People appreciate this, and although it may mean no sale this time, it's likely to pay off in the future for your credibility has been enhanced. You can of course tactfully mention extra or related items that you may have, When people are buying a present, alternatives can often be better than the client's initial suggestion. Do not upset your customer for you will lose the sale. If a caller is concerned about something it is often a sign that they are ready to buy but want a question answered. Your sale will depend on how you react to this. You may win an argument, but still lose a sale. It's a good idea to anticipate common concerns before they arise. I know how you feel, but even though my paintings cost more, they have increased their value regularly over the last ten years.' Reassurance provided by a guarantee will also help make a sale. However, your job isn't to sell to the customer, but to help the client buy. Buyers want to be led, not pushed. If a sale is made, then confirm all essential details, such as price making sure they have your name and phone number, so they can call back if necessary. Then let your client hang up and follow through with any commitment you have made. Keep in mind that a 'sale' may be an~ppointment to come and view your paintings. It does not necessarily have to mean a purchase. In addition most of the above ideas can be used in a face to face situation as well as on the phone.ACTION MEMO
What kind of phone calls do you usually receive?
Which means you can work out some typical responses so you are better prepared in future.
6. Market Trends
Market trends are an important component in business planning. Here's an example of how they could be used by a hypothetical artist Joe Bloggs.
Market segments:
Over the last five years there have been trends leading to a change of importance for the various market segments. The established family segment is declining, whilst other segrnents, such as retirees and high net worth individuals, are growing in the total market. There is potential for growth from these two segments. An analysis of these figures leads us to believe that as the market for artworks has matured, more of the Established Families segment has:
a) Already purchased sufficient artworks and have no expectation of future purchases.
b) If they are still purchasing artworks they are not likely to be influenced by price (they must like the work) but finds available may be limited, and thus are less likely to buy at all. These trends are expected to continue over the next few years. In addition there are some cultural influences, which will negate my market, but the positive influences are greater. For survival it will be necessary to target future efforts to the growing segments.
Nature of buying:
People are making lifestyle purchases rather than buying products. They're buying status rather than paintings. We need to use this trend to market better. People also want a more personal purchase. An original artwork, although unique, is not personal at the time of purchase. It can become this in time though, which is why few are resold. Commissioning of artworks allows a more personalised purchase and can fits with lifestyle concepts too. There are trends undermining Joe Bloggs' strong competitive position. The lack of a recent presence in the market place being possibly the major factor. People will seek alternatives, and once established, be hard to woo back again. It is essential that Joe adapts to these trends now or faces the consequences, which mean that a gallery, as a place to display paintings on a regular basis, is not as necessary as in the past. However, people still need to be able to fall in love with an artwork. Thus Joe will need to make his artwork more accessible than it is now, particularly around Christmas time. Special mailings could be used, as well as exhibitions in a main street empty shop or other alternative venues frequented by many people. Prints of artworks may be a threat, but generally they lack the personal quality. However, they are cheaper, have excellent images and a very broad range of choices. The print market is obviously very large.
ACTION MEMO
Study Joe's analysis.
Which means you can now develop an approach for yourself