1. Customize Your Meta Tags
2. Submit Your URL to Search Engines
3. Install Marketing Scripts
4. Advertise Locally
5. Provide Press Releases
6. Join Competitions, Conventions, and Trade Organizations
7. Directly Contact and Provide Gifts for Customers
8. Form Cross-Promotional Alliances
9. Regularly Offer Personalized Specials and Seasonal Discounts
10. Organize Special Events for Interest Groups
11. Display Your Work From Multiple Sources
12. Promote Yourself Through Publicity Art
13. Thank Your Supporters
14. Ask for Helpers
15. Be Active Online

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1. Customize Your Meta Tags

It is vital to customize keywords and site descriptions for your portfolio website using “meta tags.”

• Information on Meta Tags

Select keywords and descriptions most relevant to your site content, because search engines – like Google, Yahoo, and MSN – will be using this information to help curious web surfers locate your webpage. For instance, if an artist prefers “fantasy,” “anime,” or “gothic” themes for her work, she may use these keywords to explain her site.

Carefully choosing descriptive information most pertinent to the portfolio’s content guarantees more promising page visits by individuals more likely to share an interest in the artist’s themes.

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2. Submit Your URL to Search Engines

URL submission forms are used to submit web addresses to search engines, such as Google, Yahoo, and MSN. Some web hosts will provide their customers with tools that automatically send their site information to a multitude of search engines simultaneously. Once submitted, web surfers may locate your website through keywords run through the search engines.

You may also directly submit a URL to any search engine of your choice. For instance, if you wish to submit the URL of your website to Google, simply visit Google.com and run a search for “submit url to Google.” You should find a webpage by Google.com in the search results that will allow you to submit your URL to their search engine for free. This same process can be used to submit a URL to any other search engine, such as Yahoo and MSN.

The more regularly URLs are submitted to search engines, the higher up on the list of returns for keywords these member pages are placed. The daily limit on the number of times a particular URL can be directly submitted to a search engine is generally five. Following this amount, the search engine may begin to misread the submissions as spam and ignore the URL completely.

Note that after initially submitting your URL to a search engine, it can take about 5-7 days for your website to appear in search results.

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3. Install Marketing Scripts

Once you have your private website up and running, browse the internet for “free marketing scripts” using a search engine like Google or Yahoo. Scripts are programs that you can download from the web and install on your website to perform a particular useful function. They are generally free to download and install, although some high-end scripts may be available for a one-time fee. Some websites, like Bravenet.com, will provide free and easy-to-use scripts for the less internet savvy, but in return will place ads on every page where one of their scripts is present.

Some essential marketing scripts you can find on the internet include the following:

• Newsletter Scripts – Newsletters make it easy for you to keep in close contact with your supporters through regular emails containing information about your work and updates to your portfolio.

• Affiliates Systems and Fanlisting Scripts – An affiliates system encourages similar websites to link to your webpage by requiring you to link back to theirs in return. This both directs relevant visitors to your website, and also increases your website’s visibility in search engines like Google and Yahoo.

• Tell-a-Friend Scripts – These invitation forms let your supporters email their friends with links to content on your website, such as blog posts, images, and shop items. Tell-a-Friend invitations may also be used as eCards, linking numerous individuals to your images.

• Blog and Journal Scripts – Blogs allow you to regularly inform your supporters of important events, such as your gallery showings, convention attendances, and portfolio updates. Intriguing content can also encourage return visits to your website.

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4. Advertise Locally

It is essential to locally promote your brand. Local commissions are often the most convenient for both artist and client, providing a greater chance of client returns. You can begin introducing yourself to potential customers by placing marketing materials – such as business cards, flyers, posters, and pamphlets – around local campuses, businesses, and any other location your target market may frequent.

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5. Provide Press Releases

Press releases provide an inexpensive method for gathering public interest in your portfolio. Offer interviews or submit articles about your work, projects, and events to publications like local and school newspapers, business and media arts magazines, websites and blogs, and local and school radio shows.

Rather than directly promote yourself, offer business advice, media tutorials, or information regarding events or organizations you are involved with. Publications will be more inclined to print stories that are particularly interesting or helpful to their readers, so consider what topics might appeal to their consumers before submitting an offer for an interview or an article. This is an effective method for attaching your name to issues the publication’s readers find meaningful.

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6. Join Competitions, Conventions, and Trade Organizations

Marketing amongst industry representatives is equally as important as marketing directly to clients. Industry connections may lead to new business opportunities and new commissions. Join as many galleries, festivals, expos, trade organizations, competitions, tradeshows, and conventions as you are able. Here you may hand out business cards and other promotional items, network with industry representatives, submit work for judging and receive awards, or invest in booths to promote your work.

If you are interested in commercial work, local business conventions provide a convenient way to meet prospective clients. In some cases, the fees and travel costs for attending such events may be written off as business expenses or be eligible for tax rebates.

Contact your local Chamber of Commerce for information on events held in your area, and use Internet queries to locate the most prominent events held worldwide.

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7. Directly Contact and Provide Gifts for Customers

Accompany display ads with emails, faxes, mailings, and phone calls to local businesses, trade organizations, industry professionals, and other potential clients. Contact your city’s Chamber of Commerce to retrieve a business registry that includes mailing addresses and other contact information. Rather than merely sending advertisements, make an effort to include gifts or special offers for your prospective clients. Some excellent examples include Starbucks Cards or coupons for free consultations. These help make your advertisements more personal and more likely to be remembered.

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8. Form Cross-Promotional Alliances

When making contact with industry professionals or business representatives, remember to suggest cross-promotional deals. For example, if you are planning to send either potential or loyal clients gifts with your mailings, and you have decided café vouchers are most appropriate, contact local café owners and explain that you are interested in sending your clients gift cards for their products. Suggest a pact in which marketing materials for your services are displayed in the café in return for directing your clients there. Many businesses enjoy this type of free publicity.

Likewise, when networking with other industry professionals, politely suggest an arrangement in which they direct clients to you in the event of an overflow of commissions provided you do the same for them. Cross-promotional alliances such as these help guarantee a continuous stream of new cliental.

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9. Regularly Offer Personalized Specials and Seasonal Discounts

Maintain year-round interest in your products and services by regularly offering specials and discounts to your clients. Take advantage of the economic boom during holiday seasons, for instance, by promoting accompanying bargains. For artists interested in corporate commissions this strategy may be particularly appealing since many businesses are eagerly seeking advertising media, such as new ads, packaging, or jingles, during this time.

During the slow season, offer discounts for your products and services to stimulate sales.

Personalized offers also provide an effective way to maintain close relationships with loyal clients. A photographer, for instance, might offer special deals to her customers during their wedding anniversaries and birthdays to both capitalize on these events and remind her clients she personally appreciates their business.

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10. Organize Special Events for Interest Groups

Hosting special events, from luncheons to media showcases and competitions, provides an effective strategy for closely networking with industry representatives and local business owners. These occasions also provide a justification for obtaining promotional interviews or appealing for press coverage from local media outlets like newspapers, magazines, and radio shows.

Catering, space, and entertainment for events may be provided by local businesses and artists seeking an opportunity to promote their products and services to other companies and industry representatives, and hence may be obtained at a discount or without charge. For example, if you choose to hold a BBQ for local studios, offer restaurants in your area the opportunity to provide food for the event as a means of promoting their menu to surrounding companies. Likewise, local hotels, community centers, parks, and other event-hosting locations may enjoy the opportunity to promote their facilities to nearby businesses.

Contact your city’s Chamber of Commerce to request help with organizing special events and for help with recruiting local industries and organizations.

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11. Display Your Work From Multiple Sources

Upload your media to several online communities to strengthen public attention for your portfolio. In addition to increasing your number of followers, using multiple websites to display your media increases your chances of being seen by potential clients and employers.

An art enthusiast may not as frequently check a private website for updates as he does his account with a social networking site. Therefore, if he is directed to an illustrator’s Myspace, Facebook, FAN, and DeviantArt account from her private website, he will be more regularly notified of updates to her portfolio and blog. Upon being informed of these updates through a community site, he may then view the artist’s private webpage to learn more about her recent activities.

Some sites to consider for cross-linking include the following:

• MySpace
• The Free Artists Network (FAN)
• SheezyArt
• DeviantArt
• YouTube
• Newgrounds
• DipDive
• Wordpress.com
• Blogspot
• Live Journal
• Facebook
• Twitter
• Monster.com

In addition to online networks, there are various other art-based sources you can submit media to. Numerous community and art scene magazines, ezines, blogs, trade journals, school periodicals, web forums, trade organizations, and websites accept media submissions from independent and student artists. These offer an excellent method of promoting your media and services to art supporters, potential clients, and employers.

To pinpoint local sources for submitting media, run a web search and contact your Chamber of Commerce. Local sources 1) Provide more targeted marketing for artists looking to attract clients and employers in their area, and 2) Increase artists’ odds for having their media submissions accepted for publication and display.

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12. Promote Yourself Through Publicity Art

One solution for independent and student artists struggling to escape obscurity on the web is to become involved in producing publicity art like gift art, promo art, and fan art.

Publicity art provides artists with a “bait and hook” with which to reel in public interest for their skills and for their private portfolio. There are two general methods of advocating your talents through publicity art. In one strategy, you can begin your marketing campaign by exclusively creating publicity art. Then once a fan base has been drawn in, cease your promotional efforts to focus all attention on developing your private portfolio. This method allows you to carry a heightened fan base over to your independent work in one dramatic transition. In an alternative strategy, you can create publicity art concurrent to developing a private portfolio. This method allows a more gradual but constant flow of new supporters directed to your independent work.

Gift art is any work of media specially made for and given to an admired artist to celebrate him and his portfolio. It can also serve as a complimentary method of cross promoting between two artists. The subject of gift art typically reflects the life or work of the artist to whom the artwork is being given. As a result, the display of gift art advertises the receiving artist, directing previously unaware viewers to his portfolio. In return, this artist will often times thank the gifting artist by showcasing the piece on his FAN page. Not only does this reinforce public support for the receiving artist, but it also directs his fans to the portfolio of the artist who donated the gift.

When researching artists to create gift art for, you can document their success with supporters by viewing their number of webpage visits and newsletter subscribers from their FAN member pages. Producing gift art for more popular artists betters your chances of reaching a broader range of fans.

Promo art is any work of media devoted to a distinguished cause or event, like the fight against world hunger or an animal rights convention. One of the most renowned examples of promo art is Shepard Fairey’s “Hope” print depicting Senator Barack Obama for the 2008 U.S. Presidential Campaign. This piece not only contributed support to the campaign, but it also allowed the popularity of the campaign to increase public interest in the artist. This system makes promo art another excellent method of cross marketing, in this instance between an artist and a cause or event rather than between two artists.

Fan art is any work of media devoted to the subject of another media franchise, typically a well-known television show, movie, book, comic, video game, or band. While some artists are skeptical of fan art, considering it to be subpar, in reality it serves as an excellent practice and promotional form of art.

For inexperienced artists, fan art can be used to demonstrate to employers how your skills would appear when applied to commercial tasks. Additionally, some clients can look to fan art as evidence of an artist’s ability to adapt to a wide range of models and subjects, making these artists more suitable for freelance commissions.

In the modern internet era more artists are finding they can gain international recognition through the production of fan art. A prominent fan artist who demonstrates this is illustrator “Bleedman” of SNAFU Comics. Bleedman got his start as an illustrator with fan-made web comics depicting well-known animated characters from contemporary pop culture, including the PowerPuff Girls, The Grim Adventures of Billy and Mandy, and Dexter’s Laboratory. He developed an extensive following from these web comics, and once he ceased developing fan art in favor of personal work, he was able to carry that popularity with him. Had Bleedman not started his artistic career with fan art, it is uncertain if there would have been as much public awareness – which developed into overwhelming support – for the private portfolio he later developed.

While artists are generally unable to receive any significant income from fan art due to concerns over copyright infringements, it none-the-less provides an excellent avenue to exercise their own artistic styles. Fan art allowed Bleedman to practice developing comics in his unique visual style, referencing subjects from various animated series. Once his techniques were well developed, he was able to apply these matured skills to his original comic series, Sugar Bits.

Fan art also serves as an excellent method of cross promoting, in this instance between an artist and a franchise. For example, if an artist were to create fan-made media parodying Harry Potter, he may call attention to the series from those of his viewers who were not drawn to Harry Potter previously. In return, those who are already supporters of Harry Potter will likely be attracted to the artist’s work and will thereby be more inclined to view his private portfolio than they otherwise might have been.

When creating publicity art an artist must take care to ensure that this media in some way correlates to her private work. This results in cross promotions that are more relevant between the campaigning artist and the admired artist, cause, or franchise to which media is being dedicated. For instance, if an illustrator typically produces paintings depicting fantasy themes, it would be most beneficial to her to dedicate publicity art to relatable subjects. She might devote gift art to other fantasy-inspired artists, provide pop art for fantasy-based causes, events, or organizations, and develop fan art for fantasy-themed television shows, books, comics, and movies. This increases both the likelihood that the viewers whom her publicity art attracts will share an interest in the content of her private portfolio, and that the subjects she is dedicating publicity art to will intrigue her fans.

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13. Thank Your Supporters

When dealing with social networking websites, such as MySpace, FAN, or DeviantART, leave a courteous “thank you” message in the comments section of the member page of each individual who joins your newsletter or collects one of your works. This not only shows your fans that you personally appreciate their support, but can also call the attention of additional viewers to your portfolio.

When expressing thanks, avoid spamming or being inappropriate. Do not repeat yourself, type in all capital letters, use excessive exclamations or emoticons, post images, or make self-promotional statements. Any remarks that come across as desperate for attention or disrespectful to your supporters can have the undesired effect of turning people away from your work.

A simple “thank you for joining my newsletter” will suffice.

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14. Ask for Helpers

Juggling all the tasks required to run the marketing network behind your portfolio website can become tiresome. If the work becomes overwhelming, don’t be afraid to ask for help from trusted friends or family members. For example, you can recruit friends to lend you a hand in distributing promotional materials at conventions and businesses once a year.

You can also pay for assistance with regular tasks. For instance, if you promote your portfolio through multiple social networking websites, like Myspace, FAN, and DeviantArt, you can offer an allowance to a niece or nephew for aiding you in managing these accounts. This can be especially helpful for simple but time-consuming tasks, like when leaving messages on profile pages thanking your supporters from community websites.

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15. Be Active Online

Investing the effort in showcasing your portfolio on networking websites, such as FAN, YouTube, and MySpace, will result in little returns unless you make yourself visible within each online community by being at least somewhat active.

Remaining dormant after joining a web community is parallel to attending a networking convention and then not speaking with anyone. Potential supporters won’t visit your webpage unless they know where to find it. To make the public aware of your portfolio, you need to introduce yourself to members of the web community and offer up useful information to maintain their interest.

Here are some activities you may get involved in to regularly promote yourself through online networks:

• Leave Comments on Other Artists’ Media and Webpages

• Frequent Chatrooms and Web Forums

• Become a Member of Numerous Online Clubs or Movements

• Organize New Online Clubs or Movements

• Offer Your Assistance to Existing Online Clubs or Movements

• Present Individuals with the Opportunity to Interview You

• Create Helpful Tutorials for Other Artists

• Provide Tips or Weekly Advice to Other Artists

• Pass on News That May Be of Interest to Other Artists

• Conduct Interviews with Professional Artists

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The information above is taken with permission from ~thefluffyshrimp and the Free Artists Network (FAN). Our website is currently in construction with our grand opening estimated for May, 2010. Therefore, many of the references to FAN made in this tutorial can be ignored for the time being.

If after reading this tutorial you are still interested in additional marketing techniques, you may research the following:

• Podcasts

• RSS Feeds

• Pay-Per-Click Advertising

I, Krisha Moeller (thefluffyshrimp), permit the following uses of all works of art I have solely created provided that the conditions of my Terms of Use are fulfilled.

For information on Free Fandom and to understand why I support it, please read the current study here.

I. Fan-Made Merchandise

Supporters may sample and reference my artwork for the creation and sale of unique products. Such items might include keychains, t-shirts, dolls, and doujinshi.

Terms of Use

1) Fan-made products may not be close duplications or “bootlegs” of the original media or official merchandise. For instance, if I sell t-shirts displaying a particular image of mine, you may not sell t-shirts with the same print. As an alternative, you must either A) Use a different image than I do or B) Alter the image in a way that makes it clearly unique from the official merchandise. You may view my available products from my deviantART website.

2) The items must be openly declared fan-made, either on the products or at the location of purchase.

3) Either the title of the original series/artwork, my name, or the URL to my website must be included with the items.

II. Fan-Made Media

Supporters may reference my artwork for fan-made, non-profit media. Such works might include fanfiction, fanart, and fan videos.

Terms of Use

1) The media must be openly declared fan-made.

2) Either the title of the original series/artwork, my name, or the URL to my website must be included with the media.

III. Media Displays

Supporters may display my artwork through the following methods:

· Websites, such as Wikipedia, deviantART, Sheezyart, YouTube, Myspace, Photobucket, ImageShack, and private websites.

· Decoration and Street Displays

· Promotional Materials

Terms of Use

1) The media must be openly declared unoriginal.

2) Either the title of the original series/artwork, my name, or the URL to my website must be included with the displays.

VI. Terms of Use

So long as my guidelines are followed, you do not need to request permission or pay me to use my artwork.

If you do not adhere to my guidelines when using my artwork in the sale of fan-made products, in creating fan-made media, and in other displays then your rights to do so will not be protected.

V. Breaking Provisions

In the event you use my artwork in a way that ignores my Terms of Use, you will be given fair warning to either A) Revise your presentation of the media to coincide with my Terms of Use, or B) Terminate your use of my artwork altogether.

If these warnings are ignored and you continue to use my artwork outside the conditions offered by my Free Fandom Statement, then legal action may be taken.

Thank you for both supporting my work and my Terms of Use.

– Krisha Moeller

(May 4, 2009)

(An example of a completed Free Fandom statement may be found here.)

Free Fandom Statement

I, John Doe (username of website if applicable), permit the following uses of these named works of media / all works of media I have solely created provided that the conditions of my Terms of Use are fulfilled.

For information on Free Fandom and to understand why I support it, please read the current study here (link).

(Edit the Free Fandom privileges listed below to suit your tastes. If a particular section does not work for you, you may exclude it from your Free Fandom Statement.)

I. Fan-Made Merchandise

Supporters may sample and reference my media for the creation and sale of unique products. Such items might include keychains, t-shirts, dolls, and bags.

Terms of Use

1) Fan-made products may not be close duplications or “bootlegs” of the original media or official merchandise. For instance, if I sell t-shirts displaying a particular image of mine, you may not sell t-shirts with the same print. As an alternative, you must either A) Use a different image than I do or B) Alter the image in a way that makes it clearly unique from the official merchandise. You may view my available products from my private website.

2) The items must be openly declared fan-made, either on the products or at the location of purchase.

3) The title of the original series/artwork/song, my name, and/or the URL to my website – or another location to purchase official merchandise – must be included with the items.

II. Fan-Made Media

Supporters may reference my media for fan-made, non-profit media. Such works might include fanfiction, fanart, and fan videos.

Terms of Use

1) The media must be openly declared fan-made.

2) The title of the original series/artwork/song, my name, and/or the URL to my website – or another location to purchase official merchandise – must be included with the media.

III. Media Displays

Supporters may display my media through the following methods:

· Websites, such as Wikipedia, deviantART, Sheezyart, YouTube, Myspace, Photobucket, ImageShack, and private websites.

· Decoration and Street Displays

· Promotional Materials

Terms of Use

1) The media must be openly declared unoriginal.

2) The title of the original series/artwork/song, my name, and/or the URL to my website – or another location to purchase official merchandise – must be included with the displays.

VI. Terms of Use

So long as my guidelines are followed, you do not need to request permission or pay me to use my media.

If you do not adhere to my guidelines when using my media in the sale of fan-made products, in creating fan-made media, and in other displays then your rights to do so will not be protected.

V. Breaking Provisions

In the event you use my media in a way that ignores my Terms of Use, you will be given fair warning to either A) Revise your presentation of the media to coincide with my Terms of Use, or B) Terminate your use of my media altogether.

If these warnings are ignored and you continue to use my media outside the conditions offered by my Free Fandom Statement, then legal action may be taken.

Thank you for both supporting my work and my Terms of Use. Include any other comments for your supporters here.

– John Doe

(Date 00/00/0000)

FAN encourages members to practice a promotional strategy known as “Free Fandom.” Under this policy, an artist encourages his fans to create and make profit from unofficial swag and media that evoke his works. These freedoms are extended to supporters provided they give proper credit to and direct viewers to the original artist.

While Creative Commons is a fixed policy generally used for “stock art,” a Free Fandom policy is a broad, tailored contract an artist develops for his supporters, and conditions hence vary artist to artist. Free Fandom serves as a calculated marketing campaign that either replaces or supplements a marketing campaign typically conducted by a lone artist or his sponsor.

I. Sales Provisions

An independent fantasy writer supporting a Free Fandom policy would allow her fans to create swag, like key chains, t-shirts, and dolls, depicting her characters and then sell these items at conventions and stores around the world.

The privilege for these supporters to profit from unofficial merchandise is granted on three conditions:

1) The items may not be unaltered duplications or “bootlegs” of the original media or official merchandise.

2) The items must be declared fan-made.

3) The title of the original series/media, the original artist’s name, and/or the URL to the artist’s website – or another location to purchase official merchandise – must be included with the items.

The artist would also encourage fan-created media such as fanart, fanfiction, and music videos that reference her works in accordance with these same provisions.

If an artist adopts a Free Fandom policy and provided that the above conditions are met, fans would not be required to contact her for individual permission to create and profit from unofficial swag and media.

Unless an artist openly declares support for Free Fandom, fans must assume that traditional copyrights apply and must make individual requests to the artist for permission to use her work.

1) Prohibiting Bootlegs of Official Media and Merchandise

In accordance with this provision, fans cannot duplicate official media and products.

a. Media Example

Fans of a photographer who supports Free Fandom may not sell unaltered duplications of his photographs. This would infringe on official merchandise protection. They could, however, freely incorporate his images in original forms of media – like paintings and collages – and sell them, provided they give the original artist open credit for the integrated photographs.

b. Product Example

If a painter supporting Free Fandom sells t-shirts and handbags exhibiting images of her paintings from her website, then others may not sell t-shirts and handbags using these same images. This would infringe on official merchandise protection. They could, however, freely sell her images on original items like key chains and postcards provided that A) the artist does not sell these products, and B) they give her open credit for the integrated images.

These terms of Free Fandom prevent bootlegging and interference with official sales.

2) Declaring Fan-Made Items

In accordance with any Free Fandom policy the privilege to integrate an artist’s work into unique media or unofficial merchandise is conditional to the works being publicly declared “fan-made” when applicable. This dramatically reduces any chance for confusion regarding the origin of the incorporated media on behalf of passing viewers.

3) Crediting the Original Artist

a. Financial and Marketing Benefits

While free fandom permits fans to make some small profit from inspired swag and certain forms of media, it also shifts the burden of financial risks that typically accompany marketing endeavors to these fans. An artist without a sponsor would otherwise foot the bill for producing swag and for the effort in distributing it to the public, accepting all financial losses if the endeavor fails. For instance, the independent fantasy writer in the previous example allows her fans to sell fan-made swag at conventions. In the event these items do not sell and the marketing campaign fails, the fans and not the artist lose the investment in the production of the swag. Alternatively, were the items to sell well and the marketing campaign to thrive, the fans are rewarded for their deeds with some profit, while the artist receives exposure from the successful promotion. This publicity typically results in an increase in sales of the artist’s official merchandise and commissions. Free fandom hence allows artists to market themselves internationally while avoiding common expenses and potential losses.

Outsourcing this type of marketing to fans also allows for a much more far-reaching advertising campaign than an individual artist could conduct alone. Fans commonly introduce new fans to their favorite artists through word-of-mouth. Free fandom amplifies this system by allowing word-of-mouth endorsements to be accompanied by fan-made media and products that, in some instances, profit the fans that are promoting the artists. Consequently, this strategy not only generates word-of-mouth promotions that are more interesting and memorable to new fans, but it also provides monetary incentive for current fans to begin promoting their favorite artists if they have yet to do so. This brings about a supplementary amount of new fans directed to the original artists for official merchandise and commissions than typically results from traditional word-of-mouth marketing. These artists hence obtain additional fans and revenue they would otherwise not have had.

Although certain artists remain skeptical of free fandom, the policy is little different from a traditional marketing system in which a portion of proceeds is given to a sponsor in return for a more expansive and influential advertising campaign than the artist could conduct alone. In the case of free fandom, rather than designating his marketing campaign to a sponsor, the artist simply designates his marketing campaign to his fans.

b. Creative Control Maintained by Artists

Notable differences in the control artists maintain over their work divide fan-based marketing and sponsor-based marketing. Fan-based marketing offers artists greater authority over their artistic visions, their income, and their work schedule. In contrast, some sponsors may withhold a certain level of creative control from their artists in order to produce media that better reflects their company image or that they believe will be better received by the public. In addition, sponsors may govern their artists’ work schedules and percentages of profit.

For example, a gallery that decides to sponsor an artist may censor or refuse to display certain pieces from the artist if they feel the works will be particularly offensive to their patrons. Likewise, if the gallery is sponsoring an artist who is popular for a specific style of art and this artist later decides to entirely reinvent his artistic style into that which may not be as alluring to potential visitors, the gallery may insist he maintain the more admired style or threaten to drop him from sponsorship. In addition, the gallery may devise work deadlines for the artist and will strip a portion of sale profits in return for handling marketing and display efforts.

For these reasons, free fandom is particularly convenient for independent artists and small studios seeking an extensive, effective, and cost efficient method of advertising, yet are not wanting to or are unable to surrender a portion of artistic control to a sponsor.

c. Competition for Sponsorships

Although free fandom provides competitive advantages for independent artists, the policy may also be used to benefit those seeking sponsorships. As a marketing strategy, free fandom can be used to considerably increase an artist’s fanbase. Should the artist choose to apply for a sponsor later in his career, a larger fanbase will not only better his chances for adoption, but will also strengthen his position to bargain for greater creative control and percentage of profit. For instance, if an independent comic artist decides to pitch his story to a publisher, he will offer a more convincing presentation if he can provide evidence of a worthy amount of preexisting public appeal for his ideas. Sponsors tend to give greater consideration to artists who have fanbases already developed. This indicates that works from these artists are more likely to attract sizeable followings, and thereby are more likely to profit their sponsors. Sponsors view unknown artists as carrying greater investment risks. Therefore, the larger an artist’s fanbase, the more alluring he will be for sponsors to back, allowing the artist to be more compelling when negotiating contracts to favor his terms. For example, if the publisher refuses the independent comic artist’s conditions on creative ownership and portion of proceeds, he may suggest he take his series and extensive fanbase to another sponsor.

II. Display Provisions

In addition to sanctioning fan-made media, advocates of free fandom may permit supporters to display their work from any location on condition that the original artists receive proper credit. At the artist’s discretion, such sources can include anywhere from street displays to websites like Wikipedia and DeviantArt.

a. Art Display Functioning as a Promotional Gift

Freely offering the public a product of value is a common marketing strategy employed by both retailers and artists seeking exposure. Not only can this strategy be used to increase pubic awareness for an artist, but it can also be used to increase the monetary value of the artist’s work. For instance, one of illustrator Shepard Fairey’s most recognized pieces is his “Hope” print depicting Senator Barack Obama for the United States 2008 Presidential Campaign. Fairey allowed the public to widely distribute the piece without charge, permitting supporters to print it out for display, create products from it, and sell it. While some believe this was detrimental to Fairey’s self-interest, the strategy ultimately intensified national attention for Fairey and his works. This popularity in turn amplified demand for his artwork and his commissions. Had Fairey jealously guarded his images and prohibited their use on the web, the public would not be as conscious of the piece’s existence. Were Fairey to then sell the original print, the lack of public awareness would likely result in the piece selling for comparatively little profit. In contrast, the image is currently highly recognized by the world in due part to Fairey’s willingness to permit its free use. Were he to then sell the original print, the piece would likely sell for an outstandingly larger profit. This illustrates how the willingness of some artists to excessively control the display and use of their images – particularly on the web – can often times be detrimental rather than beneficial to their public exposure and financial success.

b. Effect on Product Value

Some may be baffled as to why the value of original media may not only maintain, but increase with time despite “knockoffs” being readily available for purchase. When a media franchise develops a significant following, whether due to Free Fandom or courtesy of another promotional campaign, the significance of official merchandise typically multiplies regardless of concurrent fan-made and even bootleg production.

For instance, individuals world over have perpetrated many successful attempts at designing and selling fan-made Star Wars merchandise. Yet despite the easy access to unofficial Star Wars products, the official merchandise – particularly early official merchandise – still sells exceptionally well owing to the franchise’s outstanding reputation. This illustrates a defining characteristic of artwork: Unlike most products, such as food or appliances, the value of a work of art is determined by its social importance and generally not by the practical need the product fulfills. On these grounds, the worth of official media will generally remain elevated over unofficial merchandise, even when these items may serve the same function.

In addition, the significance of artwork often intensifies relative to the extent of public awareness. This justifies the increased value of the original Barack Obama “Hope” print, as mentioned in the earlier example, either despite or due to Shepard Fairey’s willingness to freely permit its duplication and use on the web. The monetary value of artwork is determined by social status, which is driven by the level of widespread recognition. Widespread recognition is in turn driven by promotional efforts. As a promotional campaign used to expand public awareness, Free Fandom can hence be relied on to increase the value of official media.

For certain forms of web-based media, such as web comics and online games, artists frequently receive the majority of their income from the sale of ad space. The value of ad space is proportionate to the regular number of visitors an artist’s webpage receives. For these artists, Free Fandom’s ability to reel in a large viewing crowd may be particularly beneficial.

Lastly, it is worthy to note that the rate at which unofficial merchandise is sold is typically more indicative of the increasing popularity of the official merchandise line and not a hint of its failure. As public approval of a media franchise deepens, the sale of both the official and unofficial products concurrently swell and diversify to meet the public’s progressively extensive variety of desires.

c. Tracking Official Sales Figures

Often times a great concern artists have with allowing others to display their media, both on the web and on location, is that each case may represent a lost sale. However, this perception can be misleading. In this circumstance individuals typically showcase the media solely for the reason that it is freely permitted, and would likely have avoided using the artwork otherwise. In addition, those viewing the media from a source other than the original artist’s website are frequently not yet supporters, and are only then being introduced to the artist. As a result, the use of the artwork would not actually indicate a lost sale, but rather serves as an avenue for acquiring additional publicity for the artist than would otherwise have been obtained.

Naturally, the functionality of this system is reliant on those showcasing the work complying with the guidelines of Free Fandom by crediting the original artist and directing viewers to his website. Given these provisions, allowing others to display the artwork constitutes the difference between no sale combined with no promotion and no sale combined with a promotion that results in redirected sales, much like an advertisement. Therefore, the artist choosing the latter method ultimately receives more sales than the artist that is more restrictive with the terms of use for his works.

Addressing Theft Concerns

Fears that Free Fandom encourages individuals to use an artist’s work without limitations are largely misplaced. In the event someone completely ignores the conditions of an artist’s Free Fandom policy by not crediting her or by not labeling his products as being fan-made, then this person is equally likely to have ignored the conditions of more limiting copyright regulations. Incidentally, an artist may only “shoot himself in the foot” by rejecting Free Fandom out of concern that his supporters might not abide by his provisions. In refusing Free Fandom, an artist only restricts those who loyally obey his instructions and as such are those who would have assisted him in promoting his media. Snubbing Free Fandom results in little to no reduction of those individuals who do not respect an artist’s terms of use in the first place, such as bootleggers and art thieves.

Conclusion

Free fandom is an optional policy and artists may customize its provisions to suite their objectives. It may be rejected entirely in favor of traditional copyright regulations.