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People keep asking me how I sell paintings, and they seem disappointed when I tell them it's not the social accounts. I run a modest Instagram for the studio, maybe 4,000 followers, and it's pleasant enough. But the collectors who have actually commissioned work from me over the past few years nearly all came from my newsletter. The plain text one. No templates, no design, just a note every month or two about what's on the easel and which pieces are about to be released. I started it back in 2016 out of frustration, because I was tired of watching a carefully composed post disappear into the feed after an hour. Today it has 700 subscribers. Last year three commissions and two gallery introductions came directly from those emails. That's a better conversion rate than every platform I'm on combined, by a wide margin. The social accounts are fine for visibility and for students finding my classes. But if you want someone to spend real money, you want their inbox, not their feed. The feed is a hallway. The inbox is a sitting room. I'd rather sit with seven hundred people than wave at four thousand.

I’ve been tracking conversion rates on a few of our direct-response campaigns this quarter, primarily for some of our more technical botanical print offerings. The numbers are… not what they were. It used to be that a clear, benefit-driven headline and a strong call to action would yield a predictable lift in click-throughs. Now, it feels like the algorithm is actively suppressing that kind of hard-sell approach. We’re seeing better engagement, ironically, on posts that are more narrative or educational, even if they don't immediately scream ‘buy now.’ It’s a shift that requires a significant recalibration of our approach, moving from immediate persuasion to a slower burn of building authority and trust. Frankly, it’s exhausting to adapt to such constant flux. Has anyone else noticed this move away from direct-response efficacy on platforms like Facebook or Instagram?

Did a linocut for a mate's mother two years back. She wanted a heron for the sitting room, lovely woman, made us dinner while the ink dried. Charged her €80 because sure, she's family-adjacent, and it was only one colour, how long could it take. Twelve hours it took. Twelve. And between the lino, the paper, the good ink, the proofing runs where the bugger wouldn't sit flat... I made about €4.50 an hour and told myself it was the gesture that mattered. Now every second cousin and neighbour's dog is looking for the "€80 heron." Two women this month alone, and one of them was genuinely offended when I said €180 for a bigger one. "But you did Joan's for eighty." Joan knows the price of bread, so she does, and she's mortified, but the cat's out of the bag. Worst part is I can't even be mad at them. I set the damn rate. If you undervalue your own work once, that's the price that follows you around for the next five years. I've had to have the awkward chat three times now and I still hate it every go. Lesson's learned anyway. Friend rate is a bottle of whiskey and a proper thank you, not a discount that pads itself into every conversation after. Sure I'm still not sure how to undo it, but I'm not doing another one at eighty. That ship has sailed.

A friend of a friend wanted a mosaic tabletop, her grandmother's coffee table, kept the legs, I just did the surface. I quoted €650 because the materials were real and I felt bad asking more from someone I sort of knew. It took me eleven days of actual setting. Two euros an hour, give or take, and that's before I mention the time I spent cutting glass and sweeping it off the floor. The annoying part isn't even the money. It's that she's a lovely woman who paid on time and told everyone about me. So now I've got three more awkward referrals coming my way, all of them from people who think €650 is the going rate for a week and a half of handwork. I keep telling myself the exposure is worth something. It isn't, really. But I don't know how to start the conversation with "that was a friend price" without making it weird for everyone. How do you all actually raise your number after you've set it once with someone's circle? I've been dodging it for a year.

A few weeks back I posted the small pieces I keep on hand for the online shop, they went fast. Then a message: "these are lovely, why don't you make them bigger?" Polite, interested. I told them the truth: the small ones are 30 cm by 30, three weeks of work. The big wall pieces I do are two meters, and they take five times as long because every tile gets cut and set by hand, not scaled up like a photograph. The bigger version isn't the same thing enlarged. It's a different animal, and it costs accordingly. Silence. Then: "can you do me one at 60 cm for the same price?" That was the whole conversation. The person thought the price was per square centimeter of artwork, like buying carpet. Not per hour of kneeling on a floor with a hammer and nippers. I get it, nobody knows what anything costs if they've never had to make it. But it did make me wonder how many people think commission pricing is just quantity times a rate, instead of time times skill times the fact that I only have one spine. Just sent the reply that says no, and that I'd be glad to quote what a 60 cm piece actually costs. Curious to see if they come back.

had a regular client for years doing these little acrylic pieces for their office, charged them €180 each and never once questioned it. finally got sick of it and quoted €400 for the next one, fully prepping my little speech about materials and time and how this isn't a hobby. they said "sure, sounds good" in like two seconds. so now i'm sitting here doing the math on every single piece i sold them at €180 and i want to scream. that's four years of leaving money on the table because i was scared of a conversation that took literally no time at all. they probably had a budget of €500 the whole time. anyway, lesson learned or whatever. next time i'm quoting double what i think and letting them talk me down. still a little mad about it though.

Okay so I finally snapped and did the thing we all joke about. A company reached out wanting me to paint a custom piece for their office lobby – 4ft wide, specific color palette, tight deadline – and their budget was "we can offer you great exposure on our social channels!" I get it, I'm small, I'm new at this full-time thing, I know how it goes. But I was just so tired. So I wrote up a proper invoice. Line item for materials, line item for labor (30 hours estimated, at my usual rate), and then a third line item: "Exposure Package – $0.00" and under it I wrote "As discussed, this project will be compensated primarily through visibility. Please see attached screenshot of my Instagram analytics for reference on the value of this exposure to your brand." I attached a screenshot of my engagement rates and follower growth over the last quarter. And I sent it. Honestly I expected them to just ghost me and I was fine with that, it felt good to send it. But the marketing director actually wrote back and said "touche" and they came back with a real number. Not a great number, not gonna lie, it was still kind of low. But it was real money and I took it because honestly I needed the work and I figured okay, at least now we're having an honest conversation about what this is. I don't know if I'd do it again, it felt a little snotty. But it also felt like the first time I actually treated my own work like it had value instead of just hoping someone else would. Anyone else done something petty that actually kind of worked??