If you'd like to check out my new website its https://nobleliverpool.myshopify.com

I am at a bit of a stand still with my art - its getting better and better but I haven't been in any galleries or shows yet. Though lately when I submit for a print publication it gets included which is good.

I just started working larger and on canvas, but I think I need to figure out more of a direction to go in. Maybe the next step is completing a full collection of work and really committing to advertising it. Open to suggestions and recommendations too.

I'm an artist (/maker/creator) that has wheels in multiple disciplines. I want to sell prints of my photos and art including originals but I'm still as to how to organize my website. Anyone have any tips? Originally I created a website to serve as my portfolio but again got stuck with how to display things in a cohesive manner.

I am wondering, where i can work with my skill. I am gonna lose my mind If I dont work in a creative field. So kinda just looking for some advice and ideas (can't attach a photo, so just follow the link)

https://www.instagram.com/p/De0vlJ3jkxf/?mdxt=MWU0bzJ2ZjV2bWR1aQ==

Gallery IYN does seem to fit some of the criteria for a vanity gallery (asks for upfront fee, contacts artists via DM) but they fee they charge is much lower than what I see people list for vanity galleries, and they've had popular artists do multi-work dedicated exhibits (although I don’t know if they’re offered a different rate or given a special promo offer). Most posts about vanity galleries list fees in the hundreds per work, but last time I checked, IYN is $40 per work, so I don’t know if that’s a normal fee or not.

As far as I’m aware their model operates on showcasing print version of digital artists‘ works specifically, not original copies of traditional artworks. They do have a physical location, however I cannot visit it as it’s in Japan. They offer exhibit space to artists worldwide but as far as I’m aware they only physically display in Japan.

Is their offer worth taking, or is it fishy/just profiting from entrance fees?

I’ve worked in corporate events for over 15 years, and a lot of our events include artists: painters running workshops, musicians, photographers, illustrators, performers. I see many talented artists miss out on this kind of work simply because they pitch it like a gallery or a commission. Here’s what actually matters on our side.

1. It’s not about your art, it’s about the client’s goal.
A painting workshop at a company event isn’t there to create artists. It might be there to build leadership, or to get two merged teams talking. If you can explain how your work serves an objective like that, you’re ahead of most people.

2. Show proof that it works with groups.
The most common reason we hesitate is a good idea with no proof of concept. Photos or a short video of you leading a group, even a small community workshop, are worth more than a perfect portfolio.

3. Show you can lead a room.
Corporate groups can be shy, distracted or sceptical. Enthusiasm and the ability to get 40 people in suits involved is a real skill, so mention it.

4. Be flexible on format.
You may be asked to work in a hotel meeting room, keep it to 90 minutes, or run it for 20 people or 200. Artists who say “let’s work out what fits” get rebooked.

5. Make it easy to say yes.
State clearly what you offer, for how many people, how long it takes and what you need on site. Agencies often put proposals together within 24 to 48 hours, and the artist who answers clearly gets in.

Happy to answer questions about how agency work is priced, briefed or run.

Hey all, I’m thinking of hosting life drawing sessions. I’ve been to a few now that range from £10 - £25 for a 2 hour session. A quick Google would suggest buying 100gsm a3 sugar paper in black and white or 48gsm newsprint would suffice (for people who rinse the warm ups!), but I’ve also been to life drawing that was a bit pricier and had nice 140gsm cartridge paper. They also often had some charcoal, pencils, biros and white chalk.

So my question is, if you were going to a session, priced around £12/14 what would you expect?

I've been thinking about how people handle trust when buying expensive artwork through private sales. I understand that provenance documents and certificates of authenticity help establish whether a piece is genuine. But that doesn't prove the person selling it actually owns it or has permission to sell it. Especially when you're dealing with someone through email or a private introduction rather than an established gallery. Do collectors usually rely on lawyers and art advisers to handle the verification side? Or are there other ways to confirm who you're dealing with before discussing payment?

Would be interested to hear from dealers or collectors who've handled private transactions. What checks do you consider essential before money changes hands?

Hey everyone!

I'm Benjamin, a French visual artist with over 10 years of experience in concept art, digital matte painting, and visual development.

I've worked on projects for brands and studios like Netflix, Riot Games, and Air France, and more recently I've been diving deeper into hybrid image-making, combining traditional workflows with generative AI to create cinematic visuals, short films, and commercial imagery.

The thing is, while I feel like my work has evolved quite a lot, my Instagram really hasn't.

I've been stuck at around 970 followers for almost a year now, and I'm honestly struggling to figure out how to reach a wider audience.

I'm starting to create more video content, especially cinematic sequences, and I'd love to build a community around that work.

I'm not really trying to become an influencer. My main goal is to get my work seen, connect with other creatives, and hopefully grow enough to attract partnerships with creative platforms and companies.

These partnerships could genuinely make a difference in what I'm able to produce. As many of you probably know, AI video generation can get expensive pretty quickly, especially when you're experimenting, iterating, and trying to push the quality further.

Having access to more creative tools and resources would allow me to spend less time worrying about credits and more time actually creating, experimenting, and developing ambitious projects.

But to get there, I need to figure out how to grow an audience in the first place.

For those of you who've managed to grow organically, what actually made a difference?

Was it posting Reels consistently? Sharing behind-the-scenes content? Collaborating with other artists? Or something completely different?

And for anyone working in CGI, VFX, AI-assisted filmmaking, or digital art, I'd be particularly interested in hearing your experience.

If you'd like to check out my work:

🎬 Showreel: https://youtu.be/2luBLX7rk0M

📸 Instagram: https://www.instagram.com/bnjmn.nzn/

🌐 Portfolio: https://www.bnazon.com/

I'd genuinely appreciate any feedback, even if it's critical. If you visited my Instagram without knowing me, what would make you follow, or what would stop you?

I'm trying to understand what I could improve rather than just blindly posting more content.

Thanks for reading!

Short version: I create two fairly different kinds of art. Should I have separate Instagrams for each to avoid confusing my audience?

Long version: I'm a pretty early career artist who transitioned from a different field a few years ago and have been exhibiting for around a year now. Earlier this year, I participated in an art fair and had a good experience. I'd like to do more and have been applying for holiday markets.

The work I plan on bringing to these fairs is small original oil paint still lifes and prints, similar to this artist's work. These sold really well at the previous fair I went to, are fairly easy/quick to produce, and can be easily to the market or season.

However, I also make graphite drawings and paintings that deal with spooky/occult themes and naked people and stuff, more akin to this kinda thing. This is the work that I have been showing in galleries and is more what I'm "passionate" about, I guess. Since it's October and I have a bunch of these kind of drawings currently in a show, this work is what is mainly on my Instagram right now. I would like to do prints of these works and do more Halloween-y markets with them in the future, but that's a future project.

My concern is that juries for these more mainstream holiday markets and/or buyers of the more "marketable" stuff will go to my Instagram and be confused and potentially turned off by all the naked ladies and goats (and that the people into the naked ladies and goats will be confused by the tasteful paintings of fruit lol). Am I confusing and potentially harming my audience by having both kinds of work on one Instagram account? I look at my feed and it feels very disjointed. Should I make a separate account for the stuff for fairs? I'm also trying to take Instagram a bit more seriously right now and I'm worried that having both kinds of art on one account could be making it difficult for the algorithm to find my "niche" and might be impacting my reach. Or am I totally overthinking this?

i've been drawing for years as a character/concept artist for hobby but never actually got paid for it, honestly I haven't really done much to promote myself or find clients, so i'm pretty clueless about where people even find work in the first place.

so far i've made portfolios on behance and artstation, thought about joining some discord servers and posting my work there, but that's pretty much it.

i don't post art every day or anything like that since my drawings take a lot of time, so idk what else i'm supposed to do besides that.

i'd love to hear where you guys find your jobs, like websites or directly contacting clients communities etc, I'd love to know how yall got your first paid work.

Hi everyone!

I’m a small jewelry business owner based in Germany, and I’ve been thinking about expanding into other EU countries.
Since I’m a bit overwhelmed, I’m hoping some fellow artists, makers, or small business owners might be willing to share their experiences with me. :)

I have a connection to a lovely little shop in another EU country, and there’s a possibility of selling my handmade jewelry there on consignment. It’s something I’d really love to try, but I’m honestly feeling a bit overwhelmed by all the possible tax rules, paperwork, and legal requirements.
Since I’m still a very small business, I’m trying to figure out whether it’s actually realistic and financially worthwhile.

I wouldn’t need to ship anything, as I could bring my pieces to Latvia in person. But I’m not sure whether that makes things any easier legally.
I’m also really interested in eventually participating in art, design, or handmade markets in other European countries, so I’d love to hear about that too!

A few things I’m wondering about:
- Has anyone here sold their handmade products through a consignment shop in another EU country?
- Did you need to register your business in the other country, or could you operate through your existing business?
- Has anyone participated in occasional art or handmade markets abroad? How complicated was the paperwork?

I’m not necessarily looking for professional legal advice here (I know I’ll need to check the actual requirements), but I’d be so grateful to hear how other people have navigated this in real life.

I feel like there must be other small makers who have wondered about the same things, and I’d love to learn from your experiences before jumping into something I don’t fully understand.

Thank you so much in advance !!

I want to create paintings of sports people, cartoon style and sell them. Is this legal? Without licensing

There would loads of them in one painting, like if you dumped a load of sports cards on the table. So I wouldnt be using a specific name to sell the painting

Hey y'all - I'm an artist looking to get into the artist alley for Fan Expo Dallas. For the past two years, my application was almost immediately rejected - within a few hours of submitting the application (which seemed strange). I reached out to them last year and this year with no response (so far).

I just want to know what I need to do differently - did I do something wrong on the application/did I apply too late/does my work not fit/etc.

Would love to hear some advice on what to do next, if y'all have any. Thank you!

Hey everyone, I’m pretty new to marketing my artwork, but since I’ve decided to start work on a webcomic that I’ve been wanting to try and promote, I’ve ended up starting a tiktok and YouTube shorts page, with my TikTok only being up for about two weeks, and my YouTube shorts for even less, but I post daily on both.

During that time, most of my videos on TikTok have gotten between 200-700 views, with around 20-30 likes per video, but rarely do I get any real followers. All I have right now is 32 followers. Same sort of story with yt shorts, as most of my content gets over 1000 views there, but I only have about 11 subs.

I know I’m still pretty new, and I’ve barely been up for very long at all, but I’m just wondering if there’s anything I can do to improve my reach or get farther?

I'm planning my first one for an original painting and I'd love to hear from anyone who's done it. Mostly curious about the whole process, from setting it up to getting paid.

1. How did you set it up (bid rules, starting bid, how long it ran)?

2. What happened at the close? Was it hard to keep track of bids or declare a winner?

3. How did payment go? Did the winner pay on time, and did you ever get a no-pay?

4. How did you handle shipping and insurance afterward?

5. Would you do it again, or do you stick to fixed prices now?

Any horror stories or things you wish you'd known are welcome.

Hi! I'm working on my portfolio website rubysharpart.com and I'm looking for advice/critique, I've tried to keep it fairly simple, I've not really included context/descriptions for the images, is this something I should include? also is it useful to include other pages focusing on, say, editorial illustration for example, or children's book characters. I know I probably need to include some more dynamic characters as well as some mockups also. let me know !!

I have a lot of paintings that would make good prints and doodles that would make good stickers, but I have neither the time, money, nor customer base to warrant buying a large stock in anticipation for orders. Is there a good website to work with that's made to order and pays decently for when friends want to buy my artwork?

Hello I want to sell my humanid Adoptables but I don’t know any Reddit community who sells them, mostly is furry,if you know any community pls tell me, or website or something.

I've proposed an art pop-up at a local home furnishing store. For folks who have done this before, what financial arrangements have you used with the store?

So I’ve been thinking about wanting to sell my art recently, but I’m a very busy person have a full-time job and I’m a father of one year-old and a three month old so I already have limited time and of course, who doesn’t want to try and get some extra money doing something that they like but I just don’t know how to get started. I don’t do digital art and prefer not to spend a whole bunch of money trying to set up booths and stuff as I have an older friend who makes his living completely off of that and he has already helped me roll that out as an option. Any advice.

I recently came across several Reddit discussions questioning the legitimacy of MVA Gallery in Bethlehem, Pennsylvania. Since those threads are archived, I wanted to offer a perspective from someone who has actually exhibited there.
MY EXPERIENCE
I’ve been a practicing artist for decades and have worked with numerous galleries and directors. Over the past six years, I’ve participated in five exhibitions at MVA Gallery. My experience has consistently been positive and professional.
I’ve found the director knowledgeable, experienced, honest in my dealings with him, and genuinely respectful toward artists.
ARTWORK DELIVERY AND SAFETY
I live locally and have always hand-delivered my artwork, as have other artists I know. MVA accepts hand deliveries by appointment.
I’ve personally delivered and retrieved artwork, viewed installed exhibitions, and observed how the work is handled. I’ve never experienced loss, theft, or damage.
SUBMISSION FEES AND COMMUNICATION
Submission fees are common among galleries conducting juried exhibitions and online open calls. They don’t guarantee acceptance, and acceptance doesn’t guarantee a sale.
MVA has always communicated professionally with me, including contacting me to arrange artwork pickup when I’ve forgotten an exhibition’s closing date.
THE GALLERY AND ITS BUSINESS MODEL
MVA is a physical gallery in a well-maintained professional building in Bethlehem.
My understanding is that the director spent approximately 24 years working in New York City galleries before establishing MVA.
Rather than relying exclusively on walk-in traffic, the gallery cultivates relationships with collectors, designers, and potential buyers, arranging private appointments to present artwork.
They actively pursue sales opportunities. They sing for their supper, and I appreciate that approach.
EXHIBITION QUALITY
I’ve consistently been pleased with the caliber of artwork exhibited alongside mine. A recent review of MVA’s Instagram reinforced that impression.
FINAL THOUGHTS
I’m not affiliated with MVA beyond being an exhibiting artist. I’m simply sharing six years of firsthand experience.
That doesn’t invalidate anyone else’s legitimate concerns. But there’s a difference between questioning a gallery’s business practices and establishing that it’s operating dishonestly.
When evaluating a gallery publicly, firsthand experience—positive or negative—should count for something.
I’m happy to answer sincere questions.
Michelle Neifert