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$$$$$$$$$$$$$Published by My Dog Ate It!, PO Box 1804, Ocean City, MD 21842Copyright © by Zipora Hartov. All rights reserved. No part of this book may be
reproduced, stored in a retrieval system, or transmitted in any form, or by any means,
electronic, mechanical, photocopying, recording, or otherwise, without prior permission of
the publisher.Printed in the United States of America.TABLE OF CONTENTSIntroduction ..................................................................................1Developing a Pricing Plan ....................................................................1Business Plan ................................................................................................................................................ 1
Developing a Long Term Pricing Strategy ..........................................................................................2
Developing Your Pricing Plan ...................................................................................................................3Consistency in Pricing ...........................................................................................................................3
Pricing Criteria: ......................................................................................................................................3
Other considerations............................................................................................................................5Pricing Methods ..............................................................................5Method 1 - Cost Based..............................................................................................................................5Example:....................................................................................................................................................6Method 2 - Per Square Inch...................................................................................................................7Example:....................................................................................................................................................7Method 3 - Ratio Based Pricing .............................................................................................................7Example:....................................................................................................................................................8Method 4 - Client Expectation Pricing ................................................................................................8Example:....................................................................................................................................................9To Discount or Not to Discount ............................................................9Interviews with Artists ................................................................... 10Michael McNelly........................................................................................................................................10
Linda Rossin................................................................................................................................................ 11
Pat Whiddon...............................................................................................................................................12
Another Artist..........................................................................................................................................12Conclusion................................................................................... 13Appendix A ................................................................................. 15Time Sheets for Artwork......................................................................................................................15DAILY TIME SHEET...................................................................................................................................iART WORK TIME TRACKING..................................................................................................................iiiAppendix B ................................................................................. 17Pricing Worksheets..................................................................................................................................17WORKSHEET FOR COST BASED METHOD..............................................................................................iWORKSHEET FOR COST BASED METHOD.............................................................................................iiWORKSHEET FOR PER SQUARE INCH METHOD..................................................................................iiiWORKSHEET FOR RATIO BASED PRICING METHOD..........................................................................ivWORKSHEET FOR CLIENT EXPECTATION PRICING METHOD............................................................v1INTRODUCTIONThis booklet deals with the most difficult issue for most artists, that of pricingart work. It could not have been written without artists generously giving their time to
answer all my questions as well as their openness and honesty in the interviews. It is not
meant to give rules that must be followed, but rather as a guide to help the artistic mind
work through the business side of art. The result hoped for is art work priced to sell.Before presenting several different methods for pricing work, this booklet coversthe development of a long term pricing plan and the criteria to consider when developing
that plan.On a personal note, after having completed the research and interviews, I haveredone my pricing methods and set up pricing sheets for myself, considering all that
follows. I have made many mistakes and keep learning from all of them. My motto is:
Never make the same mistake twice! I hope the information presented here will help you
avoid making some of those mistakes.DEVELOPING A PRICING PLANYour pricing plan should include consistency, allowance for price increases andpromote salability so that your work will give you a reasonable return for time and talent,
cover expenses and allow a commission to those who market your work, whether it be a
gallery, art representative, or others.BUSINESS PLANBefore developing a pricing plan you need to choose a long term strategy, i.e., abusiness plan. This will help you decide how to further your artistic reputation, gain
clientele, how to expose your work to a wider market and enlarge the financial return on
your work. A business plan will aid in developing your career as well as decisiveness and
consistency in your pricing. Once the questions of where you stand and where you want
to be in the future are answered, you can develop the ways and means of reaching your
goals. One of those ways and means is a long term pricing strategy. It will allow for
price changes as your work develops and matures, and, once you have set your short and
long term career goals will also help in the timing of the decision to raise prices for
your work.A long term pricing strategy will begin to emerge after you have set short and longterm goals. I have always set these goals for myself, using six months for a short term
basis, and one year for a long term basis. Several years ago I made one year a medium2length time goal, and set up a business plan for a length of five years. None of these
time lengths are fixed; short and long term goals for time periods are an individual
decision. Each person will do what is comfortable and reasonable for them.DEVELOPING A LONG TERM PRICING STRATEGYA good long term pricing strategy should follow your business plans and aid incareer growth. It will help you to make sales for the future, building a base of clientele
who repeatedly buy your work through the years. Your strategy should allow for growth
and price increases of your work as your reputation grows and your skills increase.There are a number of issues that must be decided to gain a sense of your pricingstrategy.• What market and type of clientele do you want to reach?There is a large choice or collection of choices available to you. Corporatecollectors, people who are really interested in your ideas, people who buy art as an
investment, just to name a few. Do you want to keep your work accessible to lower
income categories? Do you want to sell to trade professionals? Consider where
you are exhibiting your work. Are you exhibiting with art associations and
societies and commercial galleries, or working through art representatives and
consultants? A friend of mine does the outdoor art fair and festival circuit and at
the moment cannot keep enough paintings in stock to consider gallery
representation.There are also specialized markets, such as the wildlife art market and thepet portrait market, which are my two main markets. I also take booths at dog
shows to gain commissions. At one dog show I sold only wildlife art and did very
well. Many artists enter several of these arenas at the same time. If you live in a
large city, keep in mind that gallery representation is not the sole route available
to you.For a larger market, offer work in a wider price range. Offer larger workat larger prices, but make sure to have smaller work or prints available to people
who love your work but cannot afford the larger prices.• Have you maintained consistent pricing?Keep your pricing the same for all markets and areas.• What are your marketing strategies?3It is not always the case that a lack of sales is due to your pricing. Take alook at your marketing strategies. The lack of sales may not be due to your pricing
but rather a need for different marketing strategies. For example, are you
sending slide sheets and resumes out to galleries and juried shows (just to name
two possibilities) on a steady basis?• Is the work salable at its current price?• Will your prices allow you to establish a foundation of clients who buy your workconsistently through the years?Once all these questions have been answered, your pricing strategy will have takenon shape and form. None of this is easy, and I keep re-doing it every so often, which
helps me keep adjust my pricing and see what I have accomplished over a period of
time. I look at the process as if it were a drawing. There is always an eraser available
and a pencil to draw a new line. I have started prices at the lowest possible for each
work that I can still make a profit. I also know that at the moment my work is under-
priced, as I want to make sales.DEVELOPING YOUR PRICING PLANWhen developing your pricing plan, consider carefully what you need or want tomake from a sale, taking into account the long term pricing strategy you have decided
to put into use.Consistency in PricingConsistency in pricing is extremely important. Your work should be priced thesame no matter in what market or area you are exposing your work, or whether the
work is consigned or sold out of your studio. It is unfair and unprofessional to vary
prices. Less money due to commission cuts will be made up as sales grow and you
gradually increase your prices.Sometimes you produce a piece of work that is special to you, and are reluctantto let it go. Do not change your pricing structure for this one work! Doing so will
label your other work as inferior while pushing potential collectors away because
they cannot afford it.Pricing Criteria:4Study other artists' pricing whose work is comparable to your own. Go to
galleries as well as shows, studios and non-profit artists' centers. Gain a sense of
the price range in your area and where your work fits in that price range.
Note regional disparities in pricing. Look for pricing differences in several areas;
notice how that pricing affects sales and gallery representation. Keep note of the
pricing differences between various artists and galleries.Consider resale value. Will the buyer be able to resell the work?Pricing comfort. Are you comfortable with your prices?Are your prices reasonable? Do not price so high that you hinder your collector
base from developing or growing or price so low that your client base is easily
satisfied and stops buying your work. Introduce your work at affordable prices, and
when you have passed the stage of emerging artist, try to keep a number of small
pieces available in a lower price range. Raise prices slowly, as an increase of no more
than 10% seems to work best. Otherwise you may price long term collectors of your
work out of your market.Market considerations. Do you have work in a wide price range?Pay yourself for sales time. Artists spend a considerable amount of time on sales
(including time spent on marketing, promotion and travel). If you have not built in a
factor to cover costs for yourself or a representative, you are losing money.Ability to justify your prices. When someone asks you why a particular piece is a
specific price, have an answer. For example, I am quite often asked about the pricing
on my prints, which consist of lithographs and linocuts. I explain that these pieces
are not “limited edition” prints that have been commercially reproduced, but that:1) the pieces are designed as prints
2) I do all the technical work
3) the prints are hand pulled (I refer to printing days as Aerobics 101, whichusually makes people laugh and lets them know that it is physically demanding at
the same time) and,4) the editions are truly limited, as I do not produce more than 36 prints in alithographic edition or 50 prints in a one color linocut.I have also written a sheet explaining the printmaking processes I use for those who
have an interest in the subject. I find that people start asking more and more
questions as I explain, and in the end usually decide that the prints are very good
value for their money!5Other considerationsFlexibility & compromise. When designing your pricing plan, keep in mind that you
need to make a profit to survive as an artist. Take the demands of the market and
your prices into account, and think of this process as making career adjustments to
ensure your financial survival.Self esteem. Your self esteem can affect the way you price your work. I have
noticed that people with low self esteem tend to under-price their work due to
placing a low value on their time and talent. Someone with a healthy self regard
finds it easier to price work more realistically, i.e., paying themselves what their
time and talent are worth on the market.Be aware of feedback. Listen to verbal and nonverbal responses when people see
your work. Do they think your pricing is too high or too low? What kind of response
does your work arouse in them? Don’t change your pricing on anyone’s response, but
be aware of it on a continual basis. After time you will see a trend begin to emerge
that will help you with pricing your work.Clarity in price steps from lower priced to higher priced work. Someone may be
able to only afford or want a smaller, lower priced work at first. In the future this
prospective client may have more money to spend on a larger or major piece of work.
The little piece will be there to remind them of your other work and make them
desirous of collecting that other work.PRICING METHODSThese are the methods that I have found artists to be using in pricing their work. Some
use a single method, some use a combination of methods. Only you can decide what works
for you and what is most comfortable for you.METHOD 1 - COST BASEDMake a list of your costs, and decide the essential costs to be included when setting a
price.1) Set an hourly wage for yourself. Be realistic when deciding what your time, talent,experience and skills are worth. For example, if I take on a consulting job requiring
database design, I can charge from $20 - $30 an hour. My work is selling when I
charge what works out to $15 - $ 20 an hour, which allows me to make a profit.2) Keep records of time spent on each artwork. Any number of different methods canbe used. Keep a small appointment book in the studio and note the name of the6piece and hours spent working. Having a small notebook handy in the studio to note
the name of the work at the top of each page and the dates and times you’ve spent
on that work. If you own a computer, keep track of your hours spent on each work
on a spreadsheet.3) Along with choosing a reasonable salary for yourself, and tracking your workinghours, a decision needs to be which of the following costs listed below need to be
included in the price:• Materials• Overhead• rent/mortgage or percentage thereof, figured by square footage
• utilities (gas, electric, water and sewage costs, property taxes, etc.)• Business Related Costs:• bookkeeping
• taxes
• Cost of mailings to clients, slides & bios to galleries and/or juried shows,etc.• Cost of independent showing. Art fairs & festival costs include: boothfees, travel (gasoline, vehicle maintenance and repair, motel and meals• The time spent on sales & marketing• commissions to an art representative, gallery, etc.Once you have determined the whether you are including any overhead and/or business
related costs, you need to figure out the total cost per year, and then what amount of
that cost needs to be figured into the price of the painting. One way of doing this is to
figure out how many hours you need to work to cover these costs, and what percentage
of your total work time is needed to pay the total amount you have figured.
For example, you work 2000 hours a year, and, at $20 an hour, your overhead and
business related costs are 20% of that total work time. If you worked 10 hours on a
painting, to cover the overhead & business related costs you would need to add $40 to
the price of the work.Example:Work: “The Meeting - 3 Spoonbills”, 5” x 12”, watercolor & gouache on Masa ricepaperSalary:$20 per hourTime:3 hours x $20 = $60Materials:$3Overhead:$0 (no rent and the utilities are not paid by me)7Business Costs:$15 will cover the costs of a commission, and time spent on
bookkeeping (I do my own), and sales and marketing.Total:$75METHOD 2 - PER SQUARE INCHAfter determining the price range for comparable work by other artists in your area,
decide whether you want to price at the high, mid, or low range as well as on the
minimum price that will net you a profit on your work.Measure the painting to determine the square inch size of the painting.
Multiply the number of square inches by the price per inch that you have determined is
reasonable for your work, then apply the minimum price if needed.Example:In your area you have noted that the price for a particular size work range from
$500 - $750.
You have decided to price mid-range for your work of that size, $625.
The size of the work is 16” x 20”.
16 x 20 = 320 square inches.
$625/320 = 1.953
$1.95 would be your price per square inch that allows you to make a living from your
art.
You have decided that the minimum price acceptable for small works is $250.
If the price per square inch works out to less than $250, the work is priced at
$250.METHOD 3 - RATIO BASED PRICINGAfter determining the price range for comparable work by other artists in your area,
decide whether you want to price at the high, mid, or low range and on the minimum
price that will net you a profit on your work.Measure the painting to determine the square inch size of the painting.
Apply the price that you have decided is reasonable for your work of that size.Then, to determine pricing for differently sized work, figure the number of square
inches for the next size, and apply the equation to figure the ratio.8Example:An artist has decided that $400 is a mid-range price for a 16” x 20” on the art fair
and festival circuit.16” x 20” = 320 square inches = $400.A 30” x 40” painting = 1200 square inches.320 square inches = 1200 square inches $400$X[1200*400]/320 = X1200 * 400 = 480,000 / 320 = 1,500480,000/320 = 1,500X = $1,500METHOD 4 - CLIENT EXPECTATION PRICINGThis method takes into account customer expectations. It assigns costs to your work
that are within the expectations of collectors.First, research the price ranges of work by other artists comparable to yours in
technique, experience, style and credentials. Visit galleries, go to shows & openings,
browse art fairs, talk to other artists who are successfully selling their work. Keep
notes on the various artists and prices.Determine where you want your prices to fall within this price range, and set your price
range.Next, perform a self appraisal on your work, assigning scores of low, medium or high to
the following considerations:• Success of the work & its technical merit
• How well it fits into your current body of work
• Its degree of uniqueness both:• Within your current body of work, and
• Out in the market• The size of the piece
• The complexity of the piece9• The relative value of the materials incorporated in the work.The appraisal can now continue to the end. Add up the number of low, medium and high
scores, then assign a price from your price range according to the final score.Example:Work: “The Meeting - 3 Spoonbills”, 5” x 12”, watercolor & gouache on Masa ricepaperI have been showing in the States for 8 years but still consider myself an emerging
artist. Taking that into account, and noting the price ranges for comparable work
($25 - $200) in my area, I set my price range for my work in that size from $50 to
$100.• Success of the work & its technical merit - Medium
• How well it fits into your current body of work - High
• Its degree of uniqueness both:• Within your current body of work - Medium
• Out in the market -High• The size of the piece - Low
• The complexity of the piece - Medium
• The relative value of the materials incorporated in the work - LowLowMediumHigh232As the Medium score had the highest numbers, this work would be priced at $75.TO DISCOUNT OR NOT TO DISCOUNTGenerally, discounting prices is not a good policy, and will hurt your pricingconsistency. If a gallery or decorator offers a discount to a customer, I feel that the
discount should come out of their commission and not affect the moneys received by the
artist. On occasion an artist will discount the price on a work to move it. On exceptional
occasions I have discounted a work. One time I discounted work was for a young individual
at an outdoor show, who saw a drawing of a wolf I had done with the same name as her
dog. She returned several times to look at the work, and in the end, pulled all the money
she had out of her wallet and pockets, including change. Still $10 short, but had to have
that drawing! I sold the drawing to her for what she had, and she has since bought a
couple of more pieces. In my mind there is a big difference between someone trying to
bargain for work, and someone who is inescapably pulled to a work and just doesn’t have
the last few dollars needed to buy it.10INTERVIEWS WITH ARTISTSI have spent much time speaking with artists on the subject of pricing. The four artists
included in this section have successfully built up their reputation and sales over the years
that I have watched their career growth.MICHAEL MCNELLY“I establish my prices based on my track record and experience.”At the beginning of our conversation, he addressed what I consider to be animportant issue:“I’m forty-two now, and I began to draw when I was five. That’s thirty-sevenyears of working to gain my skills. How can you possibly put a price on years of
experience, education, private lessons, and workshops, not to mention the time and
money spent on travel, research, and equipment?”I would like to point out the fact that Michael keeps track of time spent on eachpainting. Most of the other successful artists taking part in the interviews are also
consistent about keeping track of time spent on each painting. He also keeps his prices
consistent, whether it is purchased at a gallery or at shows.During our conversation, we spoke about other factors in setting prices on artwork. Along with the time spent on the work, he also reviews other artists’ work at
shows and galleries, thus keeping in tune with the current market prices.When setting a price on a piece of work, Michael considers it important not tooverprice the work. Bringing the current price down on new work de-values the art
already bought by clients, while raising prices as the artist becomes better known in
the art world and sales increase will raise the value of previously purchased work.Once I understood how he establishes his track record, I understood hisstatement “I establish my prices based on my track record and experience.”Michael’s final piece of advice to other artists was “When setting your prices, drawthe line at the price where you feel most comfortable.”11LINDA ROSSINWhen I first met Linda, she was working as a graphic artist and painting at night.Several years ago she was able to begin painting full time and every year her painting
career has come closer to meeting the goals she has set for herself. Her studio is now
self supporting and she has received several large commissions.In our interview, about halfway through our conversation I realized that what shedoes and does not include in her pricing method indicates a strong sense of self and
confidence in her work. This confidence helps her make pricing decisions when faced
with the problematic issues that occur on occasion, as well as allowing her to be flexible
and compromise on those issues.Her pricing method includes keeping track of time spent on each painting in a smallappointment book. She includes in her hours the time spent on sketches before
beginning a piece of art work. When a piece of work is framed, she adds a minimal
percentage onto the framing cost to pay herself for time and gasoline spent getting the
piece framed. The price of each work includes a 33% commission. Linda believes that
keeping prices consistent is very important. She feels that inconsistently priced art
work will be noticed by collectors and can only result in the loss of sales. When taking
part in a show not taking a commission, she pays herself the commission built into the
price, thereby paying herself for the time consuming job of sales and marketing.“No one works harder than I do at marketing and selling my work.”Linda does not include the time spent on her value studies in pricing as these are inher personal sketchbook and she feels that they a part of her. They are done only for
herself and “ will eventually go to family members as part of my estate. Besides,
they’re fun for me to do.”The cost of shipping to galleries showing her work and juried shows is not includedin the price of the art work.Linda has worked out solutions to two major problems involved in pricing art work.
• High prices when the piece of work has taken a longer amount of time to finishthan comparable works, and the opposite problem:• A very low price due to the work taking less time to finish.After years of tracking the time spent on each painting, an average price hasemerged for various sizes of artwork. This has helped her with solving the above-
mentioned problems.• When a painting’s price is high compared to the average price of workcomparable in size and complexity, then she compromises and/or takes a loss.12• On the other hand, when the painting’s price is low due to it flowing and takingless time, then she can price it according to the average price she has noticed
for a comparable piece of work and still have a financial gain.“As time goes on you work faster, so rather than the client paying for an hourlyrate they are paying for your lifetime experience.”Linda, like Michael, also reviews other artists’ work of equal experience, talent andexposure at shows and galleries, thus keeping in tune with the current market prices.PAT WHIDDONPat’s first reaction to the question “How do you price work?” was“I am not the person to ask, I hate pricing, I do a horrible job, and do not really apply
any pricing standards to it.”One of her largest problems is pieces that take less time.“They are often the best pieces as they not overworked.”When shipping to shows, Pat never prices a piece under $200, to include theshipping and handling costs.“I know my work is under-priced, but I want it to sell. I can always raise prices astime goes on, but it is impossible to bring prices down.”ANOTHER ARTISTThis artist did not want her name used, as she is a very private person. I have seenher progress from working a full time job to painting full time. For the last couple of
years she has been on the outdoor art fair and festival circuit. Several years ago she
decided to change her subject matter due to a lack of sales. She also was tracking
events and sales in her current market, and talking with other artists participating in
the same shows. Her current subject matter and style keep her excited about each new
work and take less time, allowing her to charge less for each painting. She also changed
her venue of shows, resulting in such increased sales that her studio is now running in
the black.“I know I should keep track of time on each painting, but my days are so divided with
other tasks not related to painting that I just don’t get around to it.”
Before pricing her work for the shows, she closely examined the work and pricing of all
artists taking part in the shows. Once she had a price range, she determined that she13wanted to price her work mid-range. A big money-saver for her is matting & framing
work herself, saving at least 50% of the cost of sending work to a frame shop.This artist prices by size using a ratio method to keep the prices of various sized
paintings in line with each other. First a minimum price is set, then the smallest work is
sized by the square inch. The price is compared to the price range of work at shows,
and a mid-range price is given to the painting. Once this process of pricing is
completed, larger painting are sized by the square inch and a ratio equation is used to
come up with the final price. On occasion prices are rounded up or down, according to
the need for consistent pricing.“I know my work is under-priced, but I want it to sell.”CONCLUSIONThe following steps will help you to arrive at prices that sell your work and net you a
financial gain.1. Develop a business plan that:• helps you establish your long term career goals and how to accomplish thosegoals.2. Develop a long term pricing strategy consisting of:• thorough research
• thoughtful consideration of your market
• pricing consistency
• allowance for career growth and price increases3. Develop a pricing plan that takes into account:• reasonable prices for your market
• your comfort with your prices
• the range of your market
• the time you spend on sales and marketing
• resale value of the work
• lets you easily justify your prices to clientsDon’t forget, pricing consistency is necessary to build a repeat clientele. Inconsistency
can damage sales and your business reputation.Remember, nothing is engraved in stone and each artist must make the decision of what
will work for him/herself. I have tried many different methods, and now seem to have
arrived at prices that work for me by using the steps and methods presented in this14booklet. If you have tried methods not found here that work for you, please let me know
about them.15APPENDIX ATIME SHEETS FOR ARTWORK• Daily Time SheetCalendar Type Tracking• Art Work Time TrackingArt Work Type Tracking16i DAILY TIME SHEETDate:84AM:30PM:3095AM:30PM:30106AM:30PM:30117AM:30PM:30128PM:30PM:3019PM:30PM:30210PM:30PM:30311PM:30PM:30Notes:iiiiiARTWORKTIMETRACKINGTitle of Art Work: Description:
Medium:
Size: Date:# Hours WorkDate:# Hours WorkNotes:17APPENDIX BPRICING WORKSHEETS• Worksheet for Cost Based Method• Worksheet for Per Square Inch Method• Worksheet for Ratio Based PricingMethod• Worksheet for Client Expectation PricingMethod18iWORKSHEET FORCOSTBASEDMETHODHourly Wage: Cost of Materials: Material:Cost:$
$
$
$
$Overhead: Rent/Mortgage$Property Taxes$Studio Improvements$Utilities1.$2.$3.$4.$Commission: iiWORKSHEET FORCOSTBASEDMETHODBusiness Related Costs: Bookkeeping$Taxes$Cost Of Mailings$Cost Of Independent Showing1.$2.$3.$Art Fairs & Festival CostsBooth Fees$Travel$Gasoline$Vehicle Maintenance And Repair$Motel$Meals$Other :$1.$2.$3.$4.$Sales & Marketing Time Cost:Title of Work: Time x Hourly Wage: x = $Labor:$Materials:$Commission$Overhead:$Business Costs:$iiiPrice of Work:$WORKSHEET FORPERSQUAREINCHMETHODPrice Range For Comparable Work: Your Price Range: Minimum Price For Work: Your Price Per Square Inch: Title Of Work: Size: Number Of Square Inches: X = $
Square Inches Price Per Square InchPriceivWORKSHEET FORRATIOBASEDPRICINGMETHODPrice Range For Comparable Work: Your Price Range: Minimum Size Work: Price: (Size in square inches)Title of Work: Size: ” x ” = square inchesa (Minimum size in square inches) b new work in square inches) = c (Price for minimum size) d (Price for new work)[b*c]/a = d * = bce / = $ eaPricevWORKSHEET FORCLIENTEXPECTATIONPRICINGMETHODPrice Range For Comparable Work: Your Price Range: Title of Work: APPRAISAL CONSIDERATIONSCORESuccess of the work & its technical meritHow well it fits into your current body of workIts degree of uniqueness both:Within your current body of workOut in the marketThe size of the pieceThe complexity of the pieceThe relative value of the materials incorporated in
the workSCORE# INAPPRAISALHighMediumLowRange To Price: Price of Work: $ Pricing Your Workincludes:Developing a Long Term Pricing StrategyDeveloping a Pricing PlanCost Based PricingPricing by the Square InchRatio PricingClient Expectation PricingPricing Method ExamplesArt Work Time Sheet SamplesPricing Worksheet SamplesZipora Hartov, an artist herself, began to develop her line of business publications for artists after
years of never quite finding what was needed for herself, whether it was contracts (they always
needed much revision) or other information. Another of her main concerns was and remains the
affordability of business publications for artists. Conciseness and orderly presentation of subject
matter make the booklets easy to read and understand as well as easy to find the points of most
interest to each artist.Zipora has been drawing and painting for most of her life. Her education includes studies in art at
Maryland Institute, College of Art from 1971 -1973, Minneapolis College of Art from 1973 - 1975,
receiving her Bachelor’s degree, the NY Studio School in Paris and New York in 1973, and studies in
zoology at Tel Aviv University from 1981 - 1983.She has received a number of awards. 1996 includes work exhibited in London at the Natural
History Museum and inclusion of her work in Christie’s Wildlife Art Sale at Christie’s South
Kensington, London in May. Christie’s has contacted her concerning the 1997 Sporting Art, Cats &
Dogs exhibit and sale as well as the 1998 Wildlife Art Sale and exhibit in London. Her work has
been exhibited at the Johnson and Johnson corporate galley of Ortho Diagnostics, Inc. Several
pieces in the collection of James Moorcroft are placed in the offices of Walt Disney in California.

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