Wednesday, June 30, 2010

How to Segment Your Target Audience

Hello, Thank you for reading my blog on printmaking and segmenting your target audience.

Segmenting your audience is a term given to a process that narrows down your audiences into small sub groups or otherwise referred to as niche groups. It is a more efficient way of marketing for limited budgets and providing your printmaking products or services to a target of specific groups.

An easy way to do this is to know your overall marketing objectives, start with writing down your current positioning and where you want be in the future. This will help you reach your goals and create a marketing strategy with benefits.

The four main areas of consideration of a marketing strategy are,

  • Engaging in Market Development
    • Are you creating your printmaking products for a new audience?
  • Engaging in Market Penetration
    • Are you making more of the same type of work for an existing audience?
  • Engaging in Product Development
    • Are you creating new work for an existing audience?
  • Engaging in Market Diversification
    • Are you creating a new type of printmaking product for a new audience?
By breaking your audience into smaller groups you will be able to communicate more easily with them.

To your printmaking success,
Jo Lankester

P.S To get your free audience development report go to

P.P.S The whole secret of a successful life is to find out what is one's destiny to do, and then do it.
Henry Ford

Printmaking: History and ProcessPrintmaking: History and Process

Tuesday, June 29, 2010

How to Understand Your Printmaking Audience

Welcome to my blog on printmaking.

Understanding the arts audience will allow you to identify your target audiences easier. People engage and become interested with art for all sorts of reasons and bring varying levels of experience, knowledge and expectations to their engagement.

People engage with art because it offers them real benefits. Focusing on the benefits that your printmaking products offer will help you to identify and clarify who might be your target audiences. Highlighting the benefits within your marketing mix will help sell your printmaking products from the onset, establishing a relationship with your target audiences and influencing their thinking.

Think about what benefits your printmaking products could give to audiences, some benefits could include:

  • pleasure
  • investment value and commercial profit
  • decoration
  • interest
  • life style association
  • work place enjoyment
  • status
  • entertainment
  • commemoration
  • passion
  • cultural identity
The art world also offers some barriers to engaging with art which can lead to people buying non-legitimised art, such as furniture, design objects and mass produced prints to satisfy their needs for aesthetic stimulation. Some of the barriers of engagement may include:
  • exclusiveness
  • elitism
  • feelings of inferiority
  • feelings of feeling intellectually or financially inadequate
  • money
By applying these benefits and possible barriers to your printmaking products, you will be able to identify new target audiences and develop creative ways of reaching them

To your printmaking success,
Jo Lankester

P.P.S Seize the moment of excited curiosity on any subject to solve your doubts; for if you let it pass, the desire may never return, and you may remain in ignorance.
William Wirt

Monday, June 28, 2010

Who Else Could be Your Target Audience?

Hello, thanks for reading my blog on printmaking.

This post is a continuation into the discovery of reaching your target audience and I pose a question; who else could be your target audience?

As artists we need to start thinking like marketers when reading the local paper. Look for what is going on in our community for special events, markets, trade fairs, open days etc and identify different customer segments for each event. Find a niche customer interest base and within these segments focus right down on it.

Think through what you have to offer and identify customer segments. For e.g. Townsville will be hosting a V8 Super Cars race in a couple of weeks offering a niche market of car enthusiasts, I am looking at what prints I have in stock that relate to this clientele base and make these prints available at art and craft markets during this time. The limited edition prints could be of a variety of subjects for e.g. cars, landscape and city scenes of Townsville and Magnetic Island or I could make something specific for the occasion.

You may find other target audiences through making your printmaking products available through,

  • Commercial Galleries
  • Retail outlets
  • Public or regional galleries
  • Hotel  & Motel lobbies
  • Art Critics
  • Art magazines

To your printmaking success,
Jo Lankester

P.S Unearth more profits you deserve

P.P.S The greatest discovery of my generation is that a human being can alter his life by altering his attitudes of mind.
William James

Jo Lankester
Stone lX, 2010
Sugarlift, Aquatint
12 x12.5cm
$90.00 AUD

© Jo Lankester 2010

Friday, June 25, 2010

Blossoming Printmaking Business Opportunities

Hi, thanks for taking the time to read my blog on printmaking.

I have been presented with a unique opportunity to expand my printmaking business much earlier than I had planned by a local group called Renew Townsville.

Renew Townsville is a not for profit company limited by guarantee that finds short and medium term uses for buildings in Townsville's CBD that are currently vacant, disused or awaiting redevelopment. Renew Townsville describes itself as a 'permanent structure for temporary things'.

Renew Townsville finds artists, cultural projects and community groups to use and maintain these buildings until they become commercially viable or are redeveloped. The group is not set up to manage long term uses, own properties or permanently develop sites but to generate activity in them until a future long term activity happens.

I will be putting in an application to move my print studio into a shop front to operate as a gallery, print studio and office. The rent for the space is minimal allowing for the development of my creative endeavour possible. This is a great marketing opportunity taking my printmaking to new audienceS, and increasing my income stream. I will be able to expand my augmented printmaking products and services including, workshops, studio space and a place for printmakers to meet and discuss ideas, processes and projects.

The application process is simple and straight to the point; I hope to be operating by August when my new press is ready.

Happy printmaking.
Jo Lankester

P.S How understanding the 7 Secrets to Building a Printmaking Business has never been made easier.   

P.P.S Imagination is more important than knowledge. Knowledge is limited. Imagination encircles the world.
Albert Einstein
Jo Lankester
Stone V, 2010
Sugarlift Aquatint
12 x12.5cm
$90.00 AUD

© Jo Lankester 2010

Thursday, June 24, 2010

A Collection of Photo's: Collagraph Workshop

Welcome, to my blog about printmaking.

I am currently conducting a Carborundum Grit Collagraph Printmaking Masterclass at Pinnacles Gallery, Townsville to compliment our current group exhibition XXX+WHY which finishes on Sunday 27the June 2010.

The results from last night's class were so fantastic I thought I would share some photos of the students at work.

The students have been working with straw-board, shellac, carborundum grit, PVA, string and textured acrylic medium to create their plates. Each student was encouraged to create a 3-5 plate colour collagraph bleed print by the end of the 6 week course. Two of the students had never created a print before attending this class, and during the course they have created some truly beautiful prints.

Week one:
I started the masterclass with a walk through of the exhibition discussing my techniques and approach to mark making and my printmaking journey. I then introduced the materials we are working with and my objectives for the course. The students then went about busily preparing their plates.

Week two:
I always like to start the class of with a discussion; I asked each student to share with the group their objectives for the course and, application of materials and desired results. This gives me an understanding of what each student is expecting to achieve and how I can help them reach their goal.
The students then went on enthusiastically creating their collagraph plates.

Week three:
The discussion for this week was based around safety, setting a press, how to use the press, introduction to printmaking paper and paper preparation.
The students pulled their first prints with excitement and intrigue as more often than not they turned out different to how they were planned.

Week four:
I brought in 4 multi plate collagraphs that I had printed earlier that day to show the students. This was very beneficial to the students own work as they were able to de-construct the prints with reference to my collagraph plates. The students jumped straight into printing and plate creation with zest, eager to see the results of their collagraphs.

Week five:
Yesterday was fun for everyone; students were very busy experimenting with colour and different plate combinations.

Week six:
Next week is the last week; we will close the session with a critique of the each other's work.

Happy printmaking.
Jo Lankester

P.S What are your augmented printmaking products?

P.P.S Always bear in mind that your own resolution to succeed is more important than any one thing.
Abraham Lincoln

Collagraph PrintmakingCollagraph Printmaking

Wednesday, June 23, 2010

Are You Getting Ready to Take Massive Action Now?

Welcome to my blog on printmaking and goal setting.

Goal setting is a very important element to moving forward and reaching the next level in my printmaking business. I am currently planning a 90 day intension plan so I get what I focus on.

I have been getting ready to get ready in some aspects of my business for some time but in setting a 90 day goal plan I am now ready to take massive action.

I believe by putting intention on action I will see incredible accomplishments within the set time frame.  Over the next 90 days  I will improve my focus, my discipline and my action as a result.

Here are some questions I will be answering to set my goals.

  • What Skills will I develop?
  • What goals will I strive for?
  • How often will I plan my day on paper?
  • How many names will I add to my database each week?
  • How many galleries will I approach?
  • How much time will I spend on marketing my printmaking products?
  • How much time will I spend in my studio?
  • How many grants will I apply for?
  • What do I need to do to set up a direct sales website?
  • Who do I need to know?
  • What will motivate me this quarter?
I will be giving a copy to a friend so they can keep me accountable for each aspect of my 90 day gaol plan.

Happy printmaking,
Jo Lankester

P.S Introducing simple steps to discover how to turn your printmaking hobby into a sustainable business for long term results.

P.P.S We are what we think. All that we are arises with our thoughts. With our thoughts, we make the world.

Jo Lankester
Echlin St Quarry Juxtaposition  North, West, South 1a, 2010 
3 Plate Colour Etching
80 x 60 cm 
$300.00 AUD

© Jo Lankester 2010

Tuesday, June 22, 2010

Absolute Reason To Find A Mentor

Hello, thanks for taking the time to read my blog on printmaking.

Last Friday, 18 June 2010, I paid my mentor Tate Adams a visit to show him my latest work. My visit had three objectives, One, to deliver a print purchased from the exhibition XXX+WHY, two, show Tate my recent work for critique, and third, selection of a print for inclusion in his next publication.

I was blown away when he told me at the opening of XXX+WHY that he was saving a page at the end of his next publication for one of my prints, so as you can imagine I was nervous and excited leading up to this visit.

Tate, as always welcomed me with warmth and excitement in anticipation to see what I had created. I bought 5 prints for him to view. He chose a large black collagraph for the publication and was very happy in deed. He was so pleased with the print that he was straight off to the framer with it the next day.

The small colour collagraphs which I thought he would like were not his favorites, he did however respond well to my large 2 plate colour collagraph which I left with him to ponder over.

We then had a cup of tea and I sat and listed to stories of his life journey and love affair with art, I feel so privileged for this experience and to hear what  influenced his visual art journey. I could never read or experience this in a written biography.

The absolute reason to find a mentor is for this experience; during our conversation Tate said "Jo, you need someone to believe in you, without that you will not know if you are on the right track, if so your likely to give up"

I lefts Tate's place knowing he believes in my ability to be a successful artist. In saying this Tate has given me so much confidence and trust in myself as a printmaking artist, I sure to reach my goals.

To Your Printmaking Success,
Jo Lankester

P.S Acquire your arts business skills at

P.P.S What you are is what you have been, and what you will be is what you do now.

 Jo Lankester
Stone Wall VI, 2010
Sugarlift Aquatint
12 x12.5cm
$70.00 AUD

© Jo Lankester 2010

Monday, June 21, 2010

A Guide to Somerset Printmaking Paper

Welcome to my blog on all things relating to printmaking.

Back in early May I wrote a few posts on traditional printmaking papers and I received a comment from a reader who enjoyed reading on this subject, here is what was said,

Anonymous said...

"Great job with the different papers. I hope Somerset is next! When you covered Magnani you forgot their newest (and possibly the overall best I've seen) paper called Revere. Check it out. For all the other papers you mentioned there are samplers available, at least from the US. Try Daniel Smith or Legion Paper. Keep up the great posts."

It is great to get your feedback helps me understand what you are interested in and your contribution is beneficial to all.

Somerset printmaking papers are made at the St Cuthberts Mill in the southwest of England, the mill started making paper in the 1700's and is regarded as a world leading manufacturer of quality mould made artist papers along with the much earlier established mills, Arches which was founded in Lorraine, France in 1492 and Fabriano (Italy) who began making paper in 1283.

St Cuthberts Mill specialises in making high quality artist papers using 100% cotton, each sheet is buffered with calcium carbonate to prevent discolouration from acids in the environment. The fade resistance is  rated; 7 International Blue Wool Scale. This paper  has some outstanding qualities starting with the gentle textured surface which is soft yet strong, stable and remains flat after printing. Every sheet has two Somerset watermarks for authenticity and four deckle edges. The paper is archival meaning it will not discolour or fall apart. The surface of the paper is slightly absorbent allowing printmaking inks to adhere to the surface.

The paper is available in five surfaces, Book, Text laid, Satin, Velvet and Textured and comes in various sizes. The four deckle edged paper is available in only two sizes, 56 x 76 cm & 76 x 120 cm.

Check with your local printmaking supply shop for free paper samples.

To Your Printmaking Success.
Jo Lankester

P.S. Accelerate your discovery into printmaking at

P.P.S Learn from yesterday, live for today, hope for tomorrow. The important thing is to not stop questioning.
Albert Einstein

Jo Lankester
Stone Wall Vll, 2010
Sugarlift Aquatint
12 x12.5cm
$70.00 AUD

© Jo Lankester 2010

Friday, June 18, 2010

How to Write A Certificate of Authenticity for Your Printmaking Products

Hello, thank you for taking the time to read my blog about printmaking.

Today I have been packaging sold prints for clients, from one of my current group exhibition's XXX+WHY at Pinnacles Gallery, Riverway Arts Centre, Townsvilles. As part of the packaging process I include my Artist Statement and a Certificate of Authenticity.

A Certificate of Authenticity is an important documentation of an original artwork. It proves that the print or artist book is original and part of a limited edition. This document is important for the purchaser and collector as it validates the purchase price, date and place. Auction houses and perspective collectors/investors appreciate this documentation when considering a purchase.

The following information is included in my Certificate of Authenticity,

Certificate of Authenticity
Studio name and address
To: The buyers name and address
Edition number:
Printed at: (name of studio even if it is your own)
Exhibition title:
Exhibition dates:
Original or electronic signature:

To your printmaking success.
Jo Lankester

P.S To get your free printmaking business report go to

P.P.S It is not because things are difficult the we do not dare, it is because we do not dare that they are difficult.

Jo Lankester
Stone lll, 2010
Sugarlift Aquatint
12 x12.5cm
$90.00 AUD

© Jo Lankester 2010

Thursday, June 17, 2010

Who Buys Art? Do you know your Market?

Welcome to my blog about printmaking.

Who buys art?  Well it is proven that 50% of buyers are tertiary educated middle aged women.

I'm told that there are five main groups of people who buy art and I believe by getting to know these different groups I can set objectives for each and sell more of my prints.

  • Passionate confident art seeker
    • Woman who are 35-54 years old, tertiary educated and employed
    • Objective: invite people to my exhibition openings who have bought from me previously and get them to invite their friends and work colleagues 
  • Excited uncertain investor
    • This group are less confident art buyers who are interested to know more
    • Objective: Have three or four of my friends who are familiar with my art work and have read my current artist statement to approach people looking interested to buy but uncertain. My friends can tell them about me and my printmaking practice. This could increase my sales dramatically. I intend to turn an under-confident art buyer into a passionate art buyer/collector.
  • Unemotional conservative
    • This group is interested but conservative with giving away any emotional response to the work and their intent to buy. 
    • Objective: Put myself in the shoes of the customer, make contact and offer information and perhaps a guided tour of the exhibition so they are more confident in visiting galleries due to a positive experience. The more familiar with visiting the gallery the more educated they become to buy art.
  • Home decorators
    • This group is often not educated in the arts but are interested to buy art on an aesthetic response. 
    • Objective: Reach a broader audience, advertise in home decoration magazines, go to home expos and even have a stall selling and promoting my printmaking products and services.
  • Young disinterested
    • Over deliver, give as much as I can to this group employing all of the above strategies.
    • Objective: Engage with this group through workshops, artists talks and guided tours. Use social networks as my tools for engagement
In sharing this information I hope you gain a greater understanding of who buys art and what can be done to increase your conversion rates.

Happy printmaking,
Jo Lankester

P.S Do you have a beautiful website but very little sales?

P.P.S Go confidently in the direction of your dreams. Live the life you've imagined.
Henry David Thoreau

Jo Lankester
Stone ll, 2010 
Sugarlift Aquatint 
12 x 12.5cm
Edition 20 
$90.00 AUD

© Jo Lankester 2010

Wednesday, June 16, 2010

Who is Your Target Audience?

Hello, thanks for taking the time to read my blog.

In my discovery towards reaching my target audience I was encouraged to ask myself a few questions, the first being,

  1. Location: 
    • Is your target audience in the area where you live?
    • Is your target audience from interstate or overseas?
  2. Purchase:
    • Who has purchased product or services in the past?
    • Is there anything that links them together?
  3. Tools: 
    • What will be the best way to reach your target audience?
I am recording the buyers information, name, address email and phone number in a spreadsheet including the exhibition they purchased the work. This information is allowing me to get to know my audience and telling me what my audience responds to in different locations.

I place a comments book in the exhibition space which captures the audiences details as well as a comment on how they heard of the exhibition.

A follow up email to my customers with a few questions asking how they heard of my exhibition and what lead to their experience to purchase.

Before an exhibition opening I start an email campaign informing my audience that I am preparing for an exhibition and that I will be sending an invitation to them to attend the opening. I then send an electronic and hard copy  of the invitation including my artist statement two weeks prior.
I send a press release one week before the opening to all media outlets including the papers, radio, and TV in the hope that someone will pick up the story. Depending on my budget at the time I can run adds in national art magazines.

My work depicts the environment and of late rocks from the local quarry so I emailed an invitation and artists statement to the Geology Department at James Cook University, Townsville. I could have gone one step further and sat down and read the local directory for geology firms and made contact with them also.

Happy printmaking,
Jo Lankester

P.S Are you reaching your target audience

P.P.S You gain strength, courage and confidence by every experience in which you really stop to look fear in the face. You must do the thing that you think you cannot do.
Eleanor Roosevelt

Jo Lankester
Stone 1, 2010
Sugarlift Aquatint
12 x12.5cm
Edition 20
$90.00 AUD

© Jo Lankester 2010

Tuesday, June 15, 2010

A Sense of Void: A Press North Printmaking Exhibition 15-18 June 2010

Hello, thank you for reading my blog on printmaking.

Friday night was the opening of A Sense of Void an exhibition by members of the Press North printmaking group.

It was an intimate opening held in one of the Jame Cook University building occupied by visual art students. The exhibition was a comment on the void of occupants within the building who are being relocated to another part of the university as part of the restructure of courses and use of buildings. It was also a symbol of the exchange of prints amongst members celebrating our different techniques and processes and bridging the gap of isolation often experienced from working in our studios alone.

The exchange folio encourages the collection of other artists work enabling the group to collect a diverse range of prints at the cost of production. I also view the exchange of prints as a creative partnership to get my work seen by a broader audience within the homes of others.

The exhibition is only available for viewing until 18 June 2010 at Gallery DG251 James Cook University, Townsville, Australia

Happy printmaking,
Jo Lankester

P.S Imagine earning 100% of your income from your printmaking passion

P.P.S Confidence is a habit that can be developed by acting as if you already had the confidence you desire to have.
Brian Tracy

Jo Lankester, Stone Vlll, 2010, Sugarlift Aquatint, 12 x12.5 cm, Edition 20 $90.00 AUD

© Jo Lankester 2010

Monday, June 14, 2010

3 Easy Steps to Wrapping Your Prints for Transport

Welcome to my blog.

I have packed the limited edition print Pandanus by Tate Adams ready for freighting to the Print Council of Australia, Melb.

My skills of wrapping artworks were refined from my experience of working in an art gallery. I believe your duty of care is to ensure the buyer receives their purchased print in the same condition as when they bought it. This demonstrates that you are building a relationship beyond the point of sale. If your buyer has a pleasurable experience throughout the process of purchasing they are likely to buy from you again. It would be terrible for a customer to return their purchase due to a bad experience which would lead to no further relationship or sales.

I have used all recycled materials found in my studio to pack the prints. I keep all packing materials that are suitable for reuse in the transport of my prints or artists books. In this instance I have use the paper and card board that was protecting printmaking paper previously delivered to my studio.

Step I. Place acid free tissue, or butchers paper, between each print to avoid the etching ink from rubbing and transferring to the back of the print sitting on top. Then wrap the stack of prints in paper and tape closed tightly.

Step 2. Cut a thick piece card board to a size slightly larger than the paper including four edges the thickness of the stack of prints. I perforate these edges and fold.  I then cut another piece of card to fit as the top piece to create a lid. Tape your cardboard box closed tightly so there is no movement or chance that it will come open in transport.

Step.3 Wrap your box in a layer of bubble wrap and tape it closed. Then cut for lengths of card the thickness of the edges, perforate the center and fold around the corners. Tape these in place to ensure the corners do not get damaged if dropped. Then wrap in a sheet of plastic to to avoid any water contact (I live in the tropics). Then place a clear label with your return address.

Happy printmaking,
Jo Lankester

P.S Discover the secrets to building a sustainable printmaking business

P.P.S Our strength grows out of our weakness.
Ralph Waldo Emerson

The Restoration of Engravings, Drawings, Books, and Other Works on Paper (Getty Trust Publications: Getty Conservation Institute)The Restoration of Engravings, Drawings, Books, and Other Works on Paper (Getty Trust Publications: Getty Conservation Institute)

Friday, June 11, 2010

A Sense of Void: Printmaking Exhibition by Press North 15-18 June 2010

Welcome to my blog about printmaking.

I belong to a local printmaking group, Press North, who is opening a group exhibition this evening title Void.

Donna Foley wrote, "Almost 12 months , Townsville printmakers formalized their comments to practice through the establishment of Press North: A North Queensland Print Collective. The group currently comprises approximately twenty members who either have their own studio press/presses or are committed to making prints and artists' books by accessing available facilities in the community. Formalization of the group is aimed at networking and developing the profile of local printmakers, refining skills through workshops with imported high profile artists and improving operating costs through collective purchasing and bargaining power."

The exhibition opens this evening at 6pm by Art Gaze Magazine Publisher and Editor, Jak Henson. The exhibition runs from the 15 until 18 June 2010.

Void is an exchange folio exhibition amongst 20 members, and Without an Incumbent is my contribution.

Jo  Lankester, Without and Incumbent, 2010, 2 plate collagraph, Edition 25, $75.00 AUD
© Jo Lankester 2010

Happy printmaking,
Jo Lankester

P.S turn your passion into a sustainable business 

P.P.S It's not who you are that holds you back, it's who you think you're not.

Collagraph Printmaking

Thursday, June 10, 2010

Tate Adams Signing the Print Council of Australia Presidential Print 2010 'Pandanus'

Hello, and welcome to my blog on printmaking.

Today I delivered the Print Council of Australia, (PCA), presidential print Pandanus to artist Tate Adams for signing.

Tate's Studio is situated in Townsville, North Queensland, Australia and has a lovely view overlooking the marina.

After signing the edition, Artists proofs and Printers Copies we had a cup of tea and discussed the latest publication on his achievements and contributions to the arts, titled Tate Adams which is written by Tate Adams, Frances Thompson and Jenny Zimmer. Published and distributed by Macmillan Art Publishing as No.15 in the Macmillan Mini-Art Series produced by Jenny Zimmer & Ken McGregor 2010.

This is a fantastic little book showcasing an image from his Gesture Series on the cover. The book is beautifully written and displays Tate's fine wood engravings, large scale lino block prints and his gouache's. It truly is a magical little booked filled with great content on the artist, his work and acknowledges his major contribution to the printmaking scene in Australia since the 1960's.

To your printmaking success,
Jo Lankester

P.S Wanting to know how to build an effective artist website that gets traffic

P.P.S The future belongs to those who believe in the beauty of their dreams.
Eleanor Roosevelt

Jo Lankester, Echlin St Quarry Juxtaposition 3b, 2010, Etching Aquatint, 80 x 60 cm Edition 10 $270.00 AUD
© Jo Lankester 2010

Wednesday, June 9, 2010

Progressive: 7 Ps of Marketing

Hello and welcome to my blog on printmaking.

This is the final post about the 7 Ps of Marketing; Progressive.

Continuous improvement is essential to building a sustainable printmaking business. Apply the X10 upshot to everything you do, from you printmaking to your marketing and everything in between.

Always ask yourself;

  •  How can I make this ten time more effective? 
Applying the X10 upshot to everything you do provokes you to think about the 'what if's'. It forces you to think of alternative options which may even be ludicrous at first.  The X10 upshot may even be a springboard into a profitable outcome.

The X10 upshot helps you ask yourself how I can improve this by 1000% which is very important to your success.

The best time to ask the X10 question is in the conception state of your artwork and imagining the outcome. This will help you identify your target audience right from the start.

The X10 upshot can become a habit of its own; apply it to any part of your life. Challenge yourself to a 30 day challenge and ask it 100 times a day, repeat X10 100 times a day for 30 days. Where ever you are apply it to whatever you are doing, and it will happen.

Keep asking the X10 question; install this way of thinking (software) into your brain for incredible results.

To your printmaking success,
Jo Lankester

P.S At Last....Make Money Doing What You Love

P.P.S You must be the change you wish to see in the world.
Mahatma Gandhi

Jo Lankester, Echlin St Quarry 2.40pm, 2010, Etching Aquatint, 60 x 80 cm $270.00 AUD
© Jo Lankester 2010

Tuesday, June 8, 2010

People: 7 Ps of Markting

Welcome to my blog.

People are a critical component within the 7 Ps of Marketing.

Who are the people involved with your printmaking products of services?

Take the time to answer this question and list all the people who are involved in producing your work or are recipients of your services. for e.g. Commercial gallery owners, public gallery directors, gallery staff, collectors, art curators, art lovers, workshop attendees, friends, fellow artists, art supply shops, and graphic designers.

All the people that come into contact with you during the production of your work are people who potentially can be creative partners to help promote your exhibition, products or services. The more people you creative partner with will increase your audience.

Creative partnering is a fabulous way to promote your products or services with another persons database. This exchange can give you positioning, as discussed in an earlier post, and exposure to brand new audiences.

Happy printmaking,
Jo Lankester

P.S Are you wanting to know how to get started in printmaking? Go to

P.P.S Know the true value of time; snatch, seize, and enjoy every moment of it. No idleness, no delay, no procrastination; never put off till tomorrow what you can do today.
Earl of Chesterfield

Jo Lankester, Echlin St Quarry 2.25pm, 2010, Etching Aquatint, 60 x 80 cm $270.00
© Jo Lankester 2010

Monday, June 7, 2010

Print Council of Australia Presidential Print 2010: Tate Adams

Hello, and thanks for taking the time to read my blog on Printmaking.

I'm interrupting the series of posts about the 7 Ps of Marketing to share with you my exciting news.
I have finished printing the Print Council of Australia (PCA) Presidential Print for 2010 by Tate Adams.

The image shows the edition stacked and in the process of being wrapped. I will deliver the prints to Tate Adams for signing this week.

The edition was made at Garage Press, Townsville, which is owned and operated by Dr Dona Foley.
Garage Press was established in 2009 and is a hub of activity for a group of local printmakers.

Imprint Magazine published by the PCA will be featuring the print Pandanus by Tate Adams in the second issue for 2010 due out this month.

Artwork Details:

Artist: Tate Adams
Title: Pandanus
Date: 2010
Medium: Sugarlift, Aquatint
Size: 68 x 49 cm
Ink: Charbonnel Black 55985
Paper: Magnani Acquerello 50 50/7 300 gsm
Edition: 35
Artist Proofs: 5
Printers Proofs: 3
Printer: Jo Lankester
Printed at Garage Press, Townsville

Happy Printmaking,
Jo Lankester

P.S If you would like to discover how to get started in printmaking visit my web site

P.P.S Interested in purchasing the PCA Presidential Print?

P.P.P.S To be yourself in a world that is constantly trying to make you something else is the greatest accomplishment.
Ralph Waldo Emerson

Australian Printmaking in the 1990s: Artist Printmakers : 1990-1995Australian Printmaking in the 1990s: Artist Printmakers : 1990-1995

Friday, June 4, 2010

5 Key Elements to Position: 7 Ps to Marketing

Welcome to my blog about printmaking for a discussion on marketing.

Position is the 5th element to the 7 Ps of Marketing for printmaking success.

How do you think you are perceived in the marketplace and within your community?

Positioning is a perceptual place where your artwork and services fits into the market place. Effective positioning will put your printmaking products and services in the minds of your potential customers first.

Positioning is a powerful tool that allows you to create a perception of how you want to be perceived in your reputation as an artist and for the quality of your work. Positioning yourself can lead to personal fulfilment. Being positioned by someone else restricts your choices and limits your opportunities.

That's why it is important for artists to transform their passion into a market position. if you don't define your printmaking products and services, your contemporary printmaker will do it for you. Your position in the market place evolves from the defining characteristics of your printmaking product. The primary elements of positioning are:

  • Pricing: Do you price your printmaking products to reflect the place in which they are available?
  • Quality: Is your printmaking product well produced? Are your editions consistent in print, labelling and do you guarantee the edition number is limited to a specified number?
  • Service: Do you supply your customer with a certificate of authenticity and an artist biography and statement? This will increase the long term benefit for the investor and to contextualize of your work historically.  
  • Distribution: How do your customers receive your printmaking products? Is the artwork delivered in an appropriate time frame? Your distribution is an important part of your positioning.
  • Packaging: How well have you packaged your printmaking product. Can you guarantee it's safe arrival damage free? 

I have de-constructed the term positioning into the key 5 elements for you to employ in your marketing strategy.

To your printmaking success,
Jo Lankester

P.S For a free report on building a sustainable printmaking business go to

P.P.S At least three times every day take a moment and ask yourself what is really important. Have the wisdom and the courage to build your life around your answer.
Lee Jampolsky

Jo Lankester, Echlin St Quarry 2.10pm, 2010, Etching Aquatint, 60 x 80 $270.00 Edition 10
© Jo Lankester 2010

Thursday, June 3, 2010

5 Low Costs Ways to Promote Your Printmaking: The 7 Ps of Marketing

Hello, thank to taking the time to read my blog on Printmaking.

Today's post is about the 4th P in the 7 Ps of Marketing, Promotion.

Where do you promote your products and/or services? This is a critical question for you to answer in your success to building a sustainable printmaking business.

Promotion can be a costly exercise for any artist especially if you are on a low budget living off the smell of an oily rag. That's why thinking creatively and using a promotion mix to suit your budget will increase your exposure and profile giving you credibility and respect as a successful artist in your local and online communities.

Step 1. Elevator Statement
I have discussed in an earlier post, to more detail, the importance of having an elevator statement. This is a business term given to describe a short concise and compelling statement about you and your printmaking business in the time that it takes for an imaginary elevator ride of two floors.
Personal Networking is another free way to promote your printmaking business, exhibitions, services and products. Take advantage and use your elevator statement at exhibition openings, artist talks, parties, functions and any time your are mingling with people in a social situation.

Step 2. Press Release
Write a press release and email it to your local and national media groups and if written well could result in great media coverage. Here are some suggestions for places you could send your press release to.

  • Local TV stations
  • Local Radio Stations
  • Newspapers
  • Local Art Groups
  • Creative Free Lance Writers
  • Magazines
Step 3. Social Network Sites
Using your online social networks to promote your exhibitions, workshops and latest printmaking achievements can work in a vial marketing effect creating amazing results for the very low cost of your Internet connection.

Step 4. Database
Emailing you database regularly is another fantastic tool for promotion. Emails keep you in contact with your target audience educating and nurturing the existing relationship you have with them. Sustaining a thoughtful relationship with your target audience creates trust and increases the possibility of future sales.

Step 5. Business Cards
Business cards are a great low cost way to promote your printmaking business by exchange of physical information. Your business card can increase your sales and professional opportunities at art fairs, seminars, and for other business opportunities including commissions.

These five hot low cost tips for promoting your printmaking will get you closer to achieving your financial and printmaking goals.

To Your Printmaking Success,
Jo Lankester

P.S How to build a sustainable printmaking business today 
P.P.S Do not go where the path may lead, go instead where there is no path and leave a trail.
Ralph Waldo Emerson

Wednesday, June 2, 2010

Place & Distribution - The 7 Ps of Marketing

Welcome to my third post for the 7 Ps of Marketing, Place.

So far, in the previous posts on the 7 Ps of Marketing you have been given valuable tips to clearly define your product and tips to help you price your work. Today you will discover Place and ideas of distribution for your printmaking products.

Where are you products or services available from? Write down your answers and try to think of all the additional places your work could be available for sale.

By increasing the amount of places you have your printmaking products available you increase your opportunities for income getting you closer to your goal of running a sustainable printmaking business sooner.

Think outside the box to come up with creative partners who could help you sell your work. Listed below are a few suggestions to get you thinking.

  • Your own Internet Website 
  • Facebook
  • Public Gallery-exhibition
  • Commercial Galleries-on consignment
  • Art & Craft Markets
  • Retail Sector
  • Development Sector
  • Architect Firms
I have shared with you my thoughts on the importance of distributing your work in as many places as possible so you can build on this list for your own financial freedom.

To your printmaking success.
Jo Lankester

P.S Discover the secrets to running a sustainable printmaking business from your home studio at
P.P.S The nearest way to glory is to strive to be what you wish to be thought to be.