For 25 years, I ran a freelance art director / graphic design business. There were clients to keep happy and projects with deadlines. Every weekday, I knew what to prioritize, what needed to be done for clients, but also what needed to be done for the business. In reality, I worked reactively instead of proactively. It eventually caused me to burn out. What I’ve learned since is that a full-time artist schedule has to be built deliberately — or the business consumes the work.
As I transitioned to a full-time artist wanting to build a sustainable art business, I realized I was now simultaneously a maker and a marketer. The same hands that paint and draw also write the content for the website, blog, and social posts, manage the shop, send out the newsletters, and do the SEO.
How did I protect the work (the making of the artwork, my studio time) when everything is screaming for my attention? Here I was, with far more drive, doing the work I always wanted to do. At the same time, I didn’t want to let the business side of art burn me out, as my freelance business did.
We’ve all heard that the right mindset is key to our success. Not the hours put in, not the number of posts written, and certainly not the number of followers you have.
I knew I wanted a mindset that valued life-work balance, the courage to put my work out there, and a practical strategical business approach. I wanted to be and feel like the CEO of my business and my life. That’s the overarching picture. What about the day-to-day?
Slow and Steady Does It.
I am a staff of one. In the future, I may be able to afford to hire help. But for right now, how I arrange my work days is so important, but it took me a while to figure this out.
For one quarter, I kept a daily log of what I did in the studio. At the end of the quarter, I felt like I wasn’t getting anywhere. I couldn’t be both consistent with my art practice and building the business. Needless to say, my email list was stagnant and my art sales flat. But what this daily log gave me was data. I could see how I was using my time and where I could improve my time in the studio.
Because I know my work takes a long time to produce (a single watercolor can take a month to complete), I knew I needed 70% of my time devoted to creating the art. The remaining 30% would be devoted to marketing tasks, research, and outreach. I begin my days with meditation, stretching, and a walk. That means I’m not in the studio until 10:00 am. By 4:30, I need to call it a day and take care of life things.
What Does a Full-Time Artist’s Weekly Schedule Look Like?
Here’s the daily rhythm. Monday — Studio + Admin Reset (10:00–4:30) 10:00–12:00: Studio work 12:00–12:30: Lunch/break (I check and answer emails during this time and only during this time) 12:30–2:00: Weekly planning — review last week, set this week’s ONE marketing priority, check shop analytics 2:00–4:30: Studio work
Tuesday — Studio Day (10:00–4:30) Full studio day. No social media posting obligation. Just create. (Or write) Optional: shoot 1–2 minutes of process video while I’m working (this becomes content later, with no extra effort)
Wednesday — Studio + Content Batch Day (10:00–4:30) 10:00–1:00: Studio work (sneaking in lunch at 12:30) 1:00–2:30: Write and schedule the week’s posts (2–3 posts, not daily). One carousel, one reel or process clip, one informational/story post, 1-2 pins of artwork, and for blog posts 2:30–4:30: Studio work
Thursday — Studio Day (10:00–4:30) A full studio day. My creative tank needs uninterrupted days.
Friday — Studio + Writing + Email + Outreach (10:00–4:30) 10:00–11:30: Studio work 11:30–12:30: Writing time: a blog post and/or social posts for next week 12:30–1:00: Lunch and responding/reading emails 1:00–2:00: Email list work — either write the newsletter OR work on a lead magnet 2:00–3:00: One real-life or online outreach action (pitch a story, email a gallery, reach out to a potential collaborator) 3:00–4:30: Studio work
Weekends — in the Studio 2–3 hours max, guilt-free. I’ll attend an opening, sketch, repurpose a Pinterest pin, and rest. I try not to work through weekends systematically, but when I am preparing for an art exhibit, having some time in the studio helps.
Please note that not every week is tidy.
When it’s written down in your calendar doesn’t mean the day will always go as you would wish. There will always be interruptions and a change of plans. Some days, I am better suited to writing than working on the current art piece in my studio. That’s OK. I know I am making the best use of my time, where my energy is guiding me.
The results? I will know more when I have more data. What I know for certain is that progress is being made with a 70/30 schedule rule, and I’m not feeling deflated or exhausted at the end of the day. During each week, I set aside about an hour to attend to three business goals for the year. It’s a slow, steady pace. It’s intentional, proactive, not reactive. The best part is, I feel I can keep the beauty and calm in the studio, and that gets reflected in my work.
Resource reading for artists:
The Artist’s Way by Julia Cameron: I personally love the artist’s date recommendation she outlines in her book.
Seth Godin’s The Practice. I have only heard of this book, and it is on my must-read list!
If this story resonated with you, you might also enjoy these:
Moving Back To Squares: On why a return to the square format turned out to be a decision about focus, not just composition.
I said to myself that I would never take a commission. It wasn’t part of my business plan. Having worked for clients as a freelance art director-slash-graphic designer for 25+ years, I didn’t relish having clients again.
Ne jamais dire jamais. Never say never. At the artist’s reception for my solo exhibit, Tiny Universes Everywhere at Silverwood Park, I was asked if I would consider taking on a commission.
It was as if the Universe was conspiring. The person asking is a talented professional photographer whose work I admire greatly. She had a photograph from the Australian bush that she would love to have me watercolor. From seeing my work over the past couple of years, she knew I would be an ideal candidate for the project. She would show me the photograph and let me decide.
The featured watercolor above is titled “Australian Bushland,” 11 x 14-inch on 300 lb. Fabriano Hotpress paper.
When I saw the photograph, I immediately had a full body “Yes!” That doesn’t happen often. The reason why I said yes wasn’t because I loved the textures, the colors, and the wild chaos of it all shown in the image.
When I looked into the photograph, I knew that bushland, however brief. I spent a month in Australia when I was just turning 30 and went to visit my parents, who were on an academic exchange at the University of New South Wales. The land, the sea, the gum trees, and the red soil all had an impact on me. The country felt enlightened and wild at the same time.
So even though the image I was to represent in watercolor is not from my native Minnesota, it still felt authentic to me because I had witnessed and felt what Australia is like, even if it was for a brief time.
What made this commission even more appealing?
Small size. We agreed on an 11-by-14-inch painting. With all the details involved, that size was manageable.
Deadline. None. My patron knows what it’s like, as an artist and photographer, and that she would never want to impose a deadline on a fellow artist.
I began the project in October and completed it right before Christmas. In October, I suddenly lost my step-mom and my youngest brother. I then had the daunting task of moving my 93-year-old father from Maryland back home to Minnesota.
Working on this watercolor painting was a balm and a refuge compared to everything that was going on in my life. I will be forever grateful that there wasn’t a deadline to add to the stress.
Price. We agreed on what she could afford. I was that much in love with the project. It’s important that I learn something from every watercolor painting I make — color and techniques, and by doing this piece, I did. I also knew I would spend a lot more time and would have charged 3x more under different circumstances. At the same time, this was a learning experience. (Priceless).
Between the holidays, she stopped by my studio to pick up the finished watercolor and was completely thrilled with the results. Had I not been devoted to the project, it would have shown in the work.
Would I take on another commission? It depends.
What projects do I have that have deadlines? That is, preparing a new body of work for exhibition.
Most importantly, does the commission align with my values, my experience, and my perspectives as an artist?
Do I like and respect the person asking for a commissioned piece? Do they love and know my work?
There are conditions in which I will always say NO to a commission. For example, if I were asked to paint a pet portrait, I would say no because I don’t do pet portraits. (I do know three artists who are fabulous at painting pet portraits that I could refer them to.
I would also say no to landscapes, animals (because my work isn’t there yet), and anything dealing with fantasy and fairies. You get the picture.
Things to consider before committing to a commission.
Final thoughts on commissions to consider, or considerations if you are asking an artist to take on a commission.
How busy is the shop and the studio? Can I manage sales and fulfillment in a timely fashion?
Taking on art commissions is another level of professionalism for an artist. It’s knowing when a commission is a good fit and when to say no. Verbal agreements are made between the artist and the client to begin the process. However, the artist should (and I highly recommend) have a written contract in place outlining the verbal agreement, the timeframe (when the work is estimated to be complete), materials and the costs involved, if the completed piece needs to be shipped, who is responsible for framing if required, and the final price for the final artwork. Both you, the artist, and the client sign and date the contract.
Other things to include in a commission contract are whether the client sees primary drawings of the composition and color palette before work begins in earnest. How many changes are allowed? How large should the piece be? Does the client provide visuals thatthe work should be based on, such as a specific building or landscape? In the case of abstract painting, the artist should prepare questions for the client to understand what emotions and colors the piece will evoke.
As the artist, you should note in your contract that you retain the copyright to the artwork. That means you are free to sell art prints of the piece or apply it to various products where it makes sense.
Need a commission contract?Here’s one to get you started. Keep in mind this is a template and to consult with a legal professional regarding your specific situation.
Your turn.
Are commissions part of your art practice and business? What have you learned in taking on commissions? Flip side: Have you ever commissioned an artist to create a work of art for you? How did the working relationship go?
If you’ve been following me for a while, you may know I’m obsessed with surface pattern design. While my focus is on producing art and stories for art exhibitions, I know how important passive income could be to my business. That comes from licensing your artwork, and surface pattern design is just one avenue for this.
I follow a handful of very successful surface pattern designers (Bonnie Christine,Liz Kohler Brown, and Mel Armstrong) who license their work and educate others on how to do this as a business model. I’ve taken online courses, watched their videos, and read their blogs.
While I have gathered a ton of information regarding licensing, I haven’t heard the real scoop from a real local artist about licensing their artwork.
Not Your Typical Surface Pattern Designer.
On a recent Saturday afternoon, I sat down with a dozen other artists at Springboard for the Arts to learn from a renowned and celebrated Mexican Minnesotan American artist, Luis Fitch, through his workshop, “Licensing Your Art.”
All the surface pattern designers I follow are women. Moms. They make it look easy. I wanted to hear about art licensing from a man’s point of view.
Over 3.5 hours, Luis outlined his 25+ years of experience and creative path with art licensing. Packed with practical takeaways and actionable steps, I’ll give you the highlights. If you are interested in licensing your art, in surface pattern design or illustration, there are many resources and courses to be had, ranging from free to thousands of dollars.
Today’s workshop was free to attend, and I gleaned new insights and was validated for what I knew about art licensing going in.
What is licensing your artwork about anyway?
It’s basically renting out your artwork to a company or manufacturer to use for a set amount of time and for certain applications. I recommend non-exclusive contracts where you can license the same artwork to different companies with a non-competing category.
For example, your one piece of artwork could be licensed to a stationery company, a wallpaper company, and a fabric manufacturer. But you couldn’t license the same artwork to three different stationery companies.
You retain the copyright for your artwork when you license your work. You earn either a flat rate or royalties for each product sold that carries your artwork on it. For many artists, this is lucrative passive income.
The Many “Luis” Takeaways
Don’t Work For Free. (Artist affirmation)
Licensing one piece of art can provide ongoing passive income. Licensing more art means more passive income.
You’re not selling out. Some of the most famous artists licensed their art to support their art and projects. Peter Max, Keith Haring, and Shepard Fairey have all made substantial income by leveraging their art.
Think in collections. Collections are developed with an overarching single theme. I would add that having a story behind your collection helps you promote and attract licensing contracts.
The money is in the masses. The masses are in the Midwest of America, not on the East or West coasts. Understanding the culture and what is important to middle America will help your work appeal to the largest audience.
Discover and cultivate your unique artistic style. Having a consistent look and feel creates a cohesive portfolio. A cohesive portfolio makes it more likely for you to land licensing contracts. Mix in your lifestyle and what you love into your art, but keep your creative style consistent. This makes your work recognizable as yours.
One of the biggest art licensing companies is Checks.com. That’s right. 61% of people still write checks, and they buy checks with the patterns and designs they like from Checks.com.
Where Iconography Plays a Part
Early on in Luis’s venture into licensing his art, he started with patterns. Later, Luis found that creating your own iconography works far better for licensing than his patterns ever did. Icons are the backbone of a collection. Icons are relatable, recognizable, and understandable.
With icons, you can move to creating patterns and different color ways employing your icons. Shown below is a set of icons I did back in 2014. I could add more to the set of icons, repurpose these into a collection, and then create patterns with these sky icons.
Best Practices for Success
Organize and title your collections for a portfolio. There are online resources for learning how to create an effective portfolio to license your art.
Recycle and repurpose your artwork. Create multi-purpose digital vector art. This makes your art versatile.
Create and design for the everyday. Find that niche in the everyday that you love. But also think of holidays. Christmas will always be the No. 1 holiday, followed by Halloween and Valentine’s Day.
Hire yourself, that is, doing product development for your art.
Watch and follow trends. Pinterest is great for this.
Use AIto find companies and manufacturers you want to work with/license your work to, as well as find out names and contact information.
Use AI to review those long, detailed licensing contracts. Ask AI if this contract is a good fit for you, given your criteria.
Always be a professional when working with licensing clients. Be responsive, communicate, but remember to negotiate when it comes to contracts.
Start a New Registration Select “Visual Arts” if your work is a painting, drawing, sculpture, or graphic design For a collection of works (like a series), you may use Group Registration of Published/Unpublished Works
Fill Out the Application You’ll provide: Title of the artwork Author/creator information Date of creation Whether it’s published or unpublished
Pay the fee (they vary) Upload a Copy of your Art Upload a digital file (JPG, PDF, PNG, etc.) as your deposit. If you’re registering a physical piece, you need to mail in a physical copy.
Then wait for approval. You’ll receive a certificate by mail or email. The processing can take months.
TIP: Register a series or collection of artwork for copyright at one time. This is much more cost-effective than registering one-off pieces. Compare $45 for registering a single piece of art versus $85 for registering a series of works.
This is just a snippet and a start on the amount of information out there regarding licensing your art. It was beneficial to hear a local artist’s experience, the lessons he learned, and how licensing your art is a viable way to passive income.
Like this post on licensing your art? Here are a couple more ideas for you.
Taking On a Commission.Learn how I went about my first artist’s commission, PLUS a free artist commission contract template.
A home with artwork makes an inviting, welcoming place to live.
Art Evokes Emotional Connection
Art can evoke deep emotional responses, from joy and serenity to contemplation or excitement. The art that draws you in reflects your personal experiences or feelings, creating a sense of connection and belonging. This emotional resonance can make a home feel more authentic and meaningful to those living there. The benefits of art in the home go far beyond decoration.
Art Has Aesthetic Appeal
Want to transform this gray, bland room into a vibrant, inviting space? Simply add art.
Art can transform a room, turning an ordinary space into something visually striking. Whether it’s a painting, sculpture, or photography, art adds depth, color, and texture, making the surroundings more engaging. It can also act as a focal point in a room, drawing attention and aiding in pulling together various design elements, like rugs, lamps, vases of flowers, etc.
As Personal Expression
This homeowner shows off their taste and aesthetics with their collection of artworks arranged salon style.
Art is a unique way to express your personality and tastes. The artwork you choose to display in your home communicates who you are, what you value, or what you find beautiful. It allows individuals to tell their stories and express their identity through visual language, making any home feel uniquely theirs. (We’ve lived in seven rented houses, but our artwork made it feel like the place belonged to us.)
Art Has Cultural and Historical Significance
For many, art comes into a home through travel and cultural experiences.
Art often holds cultural, historical, or social significance. Owning and displaying art is a way to honor or connect with certain traditions, movements, or historical moments. It can open up a dialogue about broader social issues, cultural heritage, or personal experiences that deepen the meaning of a living space.
Inspiration and Creativity
A home filled with art inspires creativity and promotes a sense of possibilities. Seeing beautiful or thought-provoking works daily can spark new ideas, whether in art, writing, work, or personal projects. Art has alchemy, opening our minds and encouraging a more open, inclusive, and creative approach to life.
Art Sparks a Conversation
“Let’s talk about how this piece” is how it starts. A striking painting or a unique sculpture invites you and your guests to engage in deeper discussions, whether about the artist, the meaning behind the piece, or the style of the work itself. Conversations like this foster connection and create a more welcoming, engaging visit to your home. I love to tell stories about the art we collect as well as the art I create.
Art Creates a Sense of Calm and Comfort
Certain art—whether abstract, nature-inspired, or serene landscapes—can evoke a sense of peace, even sanctuary. Art has a calming effect, reducing stress and contributing to overall well-being. In a home setting, art creates an air of comfort, making spaces feel more restful, restorative, and even prosperous. Research backs this up — Americans for the Arts has documented the measurable effects of art on well-being
Timeless Value
The art you collect can increase in value over time, and many people buy art not just for its aesthetic appeal but as an investment. Whether it’s contemporary or vintage, art has the potential to be appreciated, making it not just decorative but a valuable asset.
Personal Reflection and Growth
Paintings, prints, drawings, and photographs can all prompt introspection and personal growth. A piece that resonates with a person might evolve in meaning over time as their life circumstances change. In this way, art can reflect one’s evolving sense of self, offering a powerful tool for personal reflection and growth. I know I’ve experienced art this way, in that I have a few small watercolors that I have kept from childhood. They have great meaning to me.
Art Enhances the Home’s Vibe
Art collections can be displayed in many ways in a home. You’re not limited to walls. Shelves and tabletops function as mini-galleries, creating a warm focal point in a room.
Each work of art brings its unique energy and mood into a room. Depending on the style, color, and subject matter, art can create a warm, inviting atmosphere or a more vibrant, dynamic one. Art helps set the tone for how a room “feels,” making it more than just a physical space but an intentional reflection of the people who live there.
Art is not just a decoration, a nice thing to have that needs dusting from time to time. Rather, art plays an integral role in enhancing our emotional and aesthetic experiences within our homes, offering both personal contentment and broader cultural enrichment.
For a more personal essay on this topic, check out Part 1.
Looking for artwork for your home? Visit the shop.
Browse and shop collections of highly detailed drawings and multi-layered watercolor paintings. Framed originals and limited edition prints are available for sale. Prints are made to order, so allow 2 to 4 weeks for delivery. Free shipping on all prints in the US. To purchase originals, please email me directly.
Your Turn.
Anything you would add to the list? How important is having art in your home to you? What meaning and value does art in your home add to your life? Jot your thoughts in the comments. I respond to all. Till next time, be kind to everything that lives and especially be kind to yourself.
A view inside my studio, August 2023, in Lakeville, Minnesota, where I use a spare bedroom on the lower level as workspace. The surrounding artwork will soon be off to exhibit at the Minnesota Landscape Arboretum’s Reedy Gallery. I will miss them whilethey’re gone. Six pieces were sold at the show, finding new homes with people who love the art.
When I was growing up, living in the ranch-style house my father built, I was surrounded by art. It was mostly student work, large abstracts that I didn’t know if they were any good or not, only that I loved having them around. My father was a founding faculty member at the University of Minnesota, Morris, professor of studio fine arts and art history. It was 1963, and somehow those artworks found a home with us.
My brother and I would stand on the elongated Bauhaus-styled sofa my father built (he built most of our furniture for our home, too), and gestured at the large landscape abstract painting that hung above it. To us, the painting was our view of the surface of some distant alien planet. We were aliens, too, speaking in silly made-up gibberish until we fell over laughing. Art simply added to our imaginations and our play.
From Growing Up With Art To Becoming An Artist
Fast forward, and I am making art that is finding its way into people’s homes. There is nothing more fulfilling than having your art find a home and be seen every day. My partner and I also collect art from artists we’ve met and whose work we fell in love with.
These are pieces I see every day and give me that little burst of joy when I see them as I enter a room or pass them on the stairs. We have art hanging in every room of our home, except for the garage and laundry room. Even the walk-in closet in our master bedroom has art displayed, as do all the bathrooms.
I’m telling these stories to illustrate how important art is in our daily lives. But I also realize people have barriers when it comes to collecting art.
The term “collecting art” sounds intimidating all by itself. Art is far more democratic than that. Art is for everyone. When I say collecting art, I mean finding and purchasing art, from the artists themselves if you can, because you love it.
Some people think “collecting art” means having to buy the “right art” because collecting the “right art” is an investment and will pay off in the future. This, too, is part of the art world— the big-time art brokers, dealers, and collectors. The dirty side of this type of art collecting is that the art is bought and sold to the highest bidder, and the artist never sees a dime from the resale of their work. I don’t think loving the artwork has anything to do with it, either.
No, indeed, I am talking about collecting art to enhance your well-being. The art you collect says something deeper about you in ways beyond how you dress or decorate your home.
The Importance of Having Beauty In One’s Life.
In his 1880 lecture “The Beauty of Life”William Morris, the father of the Arts & Crafts movement, defined art and beauty together as integral to life itself: “Beauty, which is that is meant by art, using the work in its widest sense, is, I contend, no mere accident to human life, which people can take or leave as they choose, but a positive necessity of life if we are to live as nature meant us to; that is unless we are content to be less than men.”
Morris goes on to reflect on the art of medieval times, where art had been “made by the people, for the people as a joy for the maker and the user.” His own golden rule was “have nothing in houses that you do not know to be useful or believe to be beautiful. That is to say, surround yourself with beautiful things. They elevate the human spirit.
I take Morris’ philosophy to heart. It’s wonderful to have most things I use and see daily made by artists. I do what I can when I can for fellow artists. For instance, I have a collection of little bowls made by local artists that I use while cooking. They are loved for their adornments and usefulness, but most of all because these little bowls delight me.
Art Should Be For Everyone.
I would be remiss if I didn’t acknowledge that buying original art is a luxury for many people. At the same time, art is more accessible than ever through art prints, art fairs and festivals, and open studio events where artists sell their art directly to buyers.
As I write this post-election, we need art in our daily lives more than ever, be it music, poetry, theatre, or art on the walls. I have always found art that reflects nature calming and reassuring. The art hanging on our walls is a steady, constant friend, taking me out of my worried head to feelings of comfort and peace. Things will be better again. That’s why people need art in their homes.
Your Turn.
Do you collect art? Are you an artist who buys art from fellow artists? Are there stories about the art you have in your home? Is art an important element to have in your own home, especially now when everything costs more than it did a few years ago? Add your thoughts in the comments. I respond to all. Till next time, be kind to everything that lives and especially be kind to yourself.
For more reasons why art is important, check out Part 2.
Introduction:As an artist, I struggle to engage social media in my business and marketing plan for Terra Kind Studio Co. Here I outline my social media experiences and choices and ultimately a strategy that works best for me, my business, and my capacity. I hope this post is both helpful and encouraging.
My entry to social media was in 2009. It was Twitter, back when Twitter was good to be on. I was a freelance graphic designer and saw social media as a means of possibly connecting with potential clients.
I did land a client through Twitter. It started over a tweeted discussion on how a florist failed to deliver flowers for her uncle’s funeral. Things blossomed from there. She hired me to brand her new business, then a non-profit she founded, and several projects in between.
We became and are good friends. Her support of my work and transition from designer to full-time visual artist means the world to me.
A long-term relationship that all started from a series of tweets.
It’s been my one real-life and lasting positive experience with social media. Can I have more of these?
Social media overwhelms me, and I don’t “do” overwhelm. Even though I attended mini-courses and webinars about using social media effectively for connection and marketing, it took too much time out of my day.
I felt social media had to be part of my marketing toolbox because this is what everyone else was pushing. Yet, social media is primarily about connection and relationship building. As a socially awkward, sincere introvert, you would think mastering the art of social media would be easy. It is not.
So I stopped trying. I didn’t want to be the human hamster posting machine. I didn’t want to feel anxious about how well or poorly a post I worked on for hours performed.
I left Twitter in 2016 for obvious reasons.
My relationship with social media evolved from thinking I should be on all the platforms to realistically picking only two to engage consistently.
I could never embrace Facebook with its clunky, ugly aesthetic (in my opinion). Its blue branding is not a happy blue. If I’m on Facebook, it’s to check in with family and relatives living elsewhere or to reply to a message.
Before I took my trip to Japan in 2017, I joined Instagram. It was too late for the boom it had for the early adaptor artists. Yet, I found Instagram interesting. Unfortunately, I found I was getting wrapped up in the number of likes for a post and the number of people following me. I thought of Instagram as a marketing tool, and numbers were the key to success (and potential art sales — ha!)
Again, I was missing the point. Social media can be a marketing tool, but a foundation of connection and trust-building needs to happen first.
Fast forward to today, I have settled on how to engage social media that feels good.
How I Use Social Media in My Art Business
I’m a professional artist running a business with no outside help. I know my bandwidth. So, I decided to focus on two platforms: Pinterestand LinkedIn. Limiting it down to two has been a game-changer.
Why Pinterest? First, it’s not a social media platform but a search engine. I want a way to send people to my website and showcase my artwork. This is a long, slow, and patient tail. The good news is that pins last for years. Posts last a few hours on other social media platforms.
Instead of curating pins, I’m creating them. I have a lot of content (visuals) I can post. When I vary a pin, Pinterest sees this as a fresh pin. I can take one piece of artwork and design the pin in three different ways to pin to three different subject boards for greater reach.
The crazy thing is I love making pins. It blends my art with my eye and skills as a graphic designer. I can use my writing skills to craft pin captions (descriptions) and weave in keywords while sounding like a human.
For the non-graphic designer, there is Canva. I use Canva occasionally, but it’s easier to create pins when I know Illustrator and Photoshop like the back of my hand.
Pinterest is my “experiment” which explains the no-pressure fun I’m having with the platform. Over the past two months of consistently pinning two to three pins daily, I have gone from 2.3K monthly views to 17.4K. Views are just the beginning. My pins are beginning to be pinned by others.
Views are considered a vanity metric on Pinterest. Encouraging, yet the real measure is the traffic coming to my website via Pinterest. Those are the real numbers. So far, there has been a steady increase in traffic but no conversions (sales). This is a long-haul effort. Seeing the results of any measure makes me feel I am not wasting time. I’m laying the foundation for future sales.
Why LinkedIn? When I was a graphic designer (running Grand Ciel Design Co.) I didn’t leverage the platform effectively. I kept my profile up-to-date, posted off and on, and created a business page.
I now have a LinkedIn business page for my art business (Terra Kind Studio Co.). I make an effort to post once a week. One post a week gets a fair amount of engagement. There are many more things I could be doing to make my efforts on LinkedIn worthwhile. For example, I could reach out to people who could expand my brand, such as galleries, interior designers, editors, stylists, etc.
I could be doing more with LinkedIn and I’m not sweating it. I want to have fun here, too.
The big shift in how I engage social media is my attitude and approach. Yes, these are essential marketing tools. No, I don’t want to be a slave to them.
Now when it comes to posting anything on social media, it has to meet at least one of these criteria:
Does it have value?
Does it educate or inform?
Does it spark curiosity?
Does it bring me joy?
Could it bring joy to others?
Do I feel good putting this post out into the world?
Bottom line, I want to enjoy my time on social media. To be my nerdy, silly, authentic self. In turn, this gives others permission to be their gloriously nerdy, silly, authentic selves.
As for Instagram, I’m still semi-active there. I use it to stay in touch with fellow artists and see their current work and the exhibits they are participating in.I’m turning Instagram into an online journal, posting what I care about and working on, and curating images for reference and ideas.
When I post on Instagram these days, with no other reason but to have fun, I’m starting to attract followers and people I want to follow. I seriously thought my account had died, thanks to the almighty algorithm.
Threads, I see as an extension of Instagram (because technically it is). A friendlier and much kinder alternative to X, I’m approaching Threads as “let’s have fun here and be helpful when I can be.” Numbers and followers don’t matter. It’s the conversations that do.
It would be lovely to have repeat experiences like the one I had with Twitter in 2009. In the meantime, I have lots of art to make and people to meet. That’s where the real connections begin.
Your Turn.
What has your journey with social media been like? Do you favor specific platforms and why? Has it helped your business (be it artist, creative entrepreneur, or other profession) or has it been a colossal time-suck? How do you feel about social media in general? I would love to hear your thoughts. I respond personally to all.
Once a month, usually on a quiet Tuesday morning, I send a short note from the studio, show new work in progress, upcoming exhibits, things that are inspiring me, what's on my nightstand, and the occasional shop offer just for subscribers.
It's a small, unhurried letter. Very much like me.
Welcome! You have successfully subscribed to “Nature Calls” newsletter
Terra Kind Studio Co. is the creation of Kristin Maija Peterson, a life-long visual artist, writer, art director, and recovering graphic designer.
“I write stories about of my work to give you a deeper connection and understanding of the natural world. These stories blend of art, observation, experiences, and science. As a self-proclaimed “Beauty Hunter,” I represent and celebrate the wild, messy, and misunderstood ecosystems that are either ignored, destined to be controlled, or developed for human consumption. There is beauty and awe to be found in unexpected places, in the natural chaos of things. I hope your visit here inspires you to find your own beauty and wonderment in the natural world.”
Be kind to everything that lives and especially be kind to yourself.
JUST FOR YOU!
A gift of nature’s design. Enter your email on the right and enjoy immediate access to “Collateral Beauty,” an original graphic drawing art print.
Welcome! You are now subscribed to Terra Kind Studio Co. Newsletter’s “Nature Calls.” You will be redirected to access your free art print.
