Artists Own Their Copyright

Artists Own Their Copyright

(Transcription)

Artist Manasses Machado
Newhaven, England

Ann Rea: (00:00)
Hello everyone. This is Ann Rea coming to you live from San Francisco, California. And I’m with one of my students whose name I can’t pronounce. So he goes by– and he says it’s okay. He goes by Mana. Right? 

Manasses Machado: (00:15)
Yes.

Ann Rea: (00:15)
Also, to keep it easy. Do people say “Mana from heaven” to you?

Manasses Machado: (00:20)
Oh, all the time. Yes.

Ann Rea: (00:21)
Yes, I bet they do.

Manasses Machado: (00:24)
My name is Manasses but it’s not very easy for everyone to pronounce it so I just go by Manas. I think it makes it more easier.

Ann Rea: (00:30)
Where is that from? What’s the origin?

Manasses Machado: (00:33)
Yeah, it’s a funny story actually. It’s actually from the Bible, originally. So it’s from the Old Testament in the Bible and it’s quite, I think it’s sort of Egyptian in origin.

Ann Rea: (00:43)
Okay.

Manasses Machado: (00:44)
And yes, there’s the– kind of like some interesting meanings as well. So my mom decided to name me that, but to be honest with you it’s not very common at all. Like I don’t know anyone else with the same name, basically.

Ann Rea: (00:59)
Well, we want to talk about Making Art Making Money. So we’re going talk about some of your experiences and lessons, and thank you for taking the time to share with other artists who are some are stumped about the whole thing when it comes to making art, making money, kind of like probably how you felt when you first started. So tell us, you know, first of all, where do you live?

Manasses Machado: (01:27)
Well, at the moment I am living in Newhaven, which is a tiny little town near Brighton, south of the UK, basically.

Ann Rea: (01:36)
Great.

Manasses Machado: (01:37)
By the the coast, it’s a nice little, little town. I used to live in London for a while, but then I moved down here with my partner.

Ann Rea: (01:44)
Got it. First, I have a lot of UK students, which is interesting. I think you just recognized my DNA, but I have a disproportionate number of UK students.

Manasses Machado: (01:53)
Yeah. I have a couple of study partners from the UK.

Ann Rea: (01:55)
Yes. So what I’d love to ask you is before you joined Making Art Making Money, what were your top two challenges? What springs to mind?

Manasses Machado: (02:05)
I think, well, to be honest, I think, I didn’t know my top two challenges at first.

Ann Rea: (02:14)
Were you just kind of overwhelmed? Where were you at?

Manasses Machado: (02:16)
Like I had to do it. I felt like I was trying to, I was struggling basically to find my space in the market. I didn’t know exactly how to approach it. I didn’t know if I had to focus more on social media if I had to, you know, like go towards galleries, etc. And I saw your stuff coming up for a few months, basically every now and then. I saw some of your kind of free content as well, which I loved. And then eventually I decided to just, you know, take the jump and join the program basically. So I think looking back my top two challenges now is that first of all, I didn’t know my mission, my kind of purpose. So that was groundbreaking for me, basically. It was just like, it blew my mind when I figured that. I was just like, “Whoa.”

Manasses Machado: (03:02)
And it was always there basically, as you always say.

Ann Rea: (03:06)
Yes.

Manasses Machado: (03:06)
It was just a matter of basically realizing it. And once I did everything sort of became clearer towards how I’m going to be shaping my business from now on and how I’m going to be approaching people and you know, sharing your mission with people and making sure that you’re serving, you know, the right people, your niche basically. So that was really big. And apart from that, I think I also, I think you saw, I did share something like that on the group as well, but I had some issues with copywriting and things like that.

Ann Rea: (03:37)
Yes. So yes. So you were working with a company that makes beverages and spirits and you designed the labels, but then you recognized that maybe you were getting a little short-changed.

Manasses Machado: (03:52)
Yes, exactly. I wouldn’t say it’s short-changed because to be fair, we started pretty much together. He’s actually a friend of mine that started the company and he approached me to do the labels initially and, you know, five years ago I had no idea what to price for something like this. And he was also starting, so his budget was very limited. So we started sort of like learning, you know, baby steps, the two of us together on how to do it, but, you know, like I hope and like luckily enough, the company did take off a little bit more now since the last two, three years. And they start to get bigger, you know, like they’re actually selling big kind of companies in the UK, like even on Amazon or selling on some big retailers as well.

Ann Rea: (04:34)
Great.

Manasses Machado: (04:34)
So that’s cool because my work is being shown there, but at some point he said that the investors were a bit, you know, like a bit dubious about me keeping the copyright of the work, because they were afraid that at some point I was going to pull the work out and, you know, they’d be left with no art. So they wouldn’t be able to commercialize the spirits basically. And I was like, “Okay, fair enough.” By that case, I need to, you know, I read a little bit online and say, “Oh, in that case, you need to charge it more, basically.” And I increased my prices at that time, but now looking back, I’m like, it’s still not enough.

Ann Rea: (05:07)
Still not enough right?

Manasses Machado: (05:08)
Exactly. So with the program, it gave me a lot more clarity as well on how to price things.

Ann Rea: (05:16)
How to price your art for profit.

Manasses Machado: (05:18)
Exactly. And main thing really, I think, is I’m more confident in my artwork, you know, like I always enjoy doing what I do, but it was always the kind of stuff like, “Ah, is it good enough?” You know, like you’re always questioning yourself sometimes as an artist, basically even though I know that the company was, you know, like doing really well with my artwork on the labels, etc. I was super second guessing myself, you know, but once I realized my mission I realized that, you know, like, it’s just, you have to stop second guessing yourself.

Ann Rea: (05:50)
Yes!

Manasses Machado: (05:52)
You know, like the sort of I think is a fine balance between being, you know, like confident and also being humble, you know, like you have to find I think like a sweet spot between the two.

Ann Rea: (06:08)
Right.

Manasses Machado: (06:09)
I think once you realize that, you know, what you’re doing is your best and that people like it, and that there’s a market for you. There’s people that, you know, there’s someone out there that is your niche basically. And once you realize that, it’s just like, okay, you just stop short-changing yourself now for anyone that doesn’t appreciate what you do, basically.

Ann Rea: (06:28)
Yes.

Ann Rea: (06:28)
Can I give you a tip on how to make some more revenue?

Manasses Machado: (06:32)
Always But you know what? I’m going to give some money. Hint out to make more money. Give me a call.

Ann Rea: (06:38)
Yes. I mean, I am the creator of the Making Art Making Money program. What I’m thinking of is I would suggest you go back to your friend who owns The spirits company and propose the idea of you selling fine art prints that are hand signed. And I would even make it an open edition and what he gets out of it, he doesn’t get money. What he gets out of it, and you wanna say it this way, is a permanent presence in the homes and offices of the people who acquire your hand-signed prints.

Manasses Machado: (07:12)
Absolutely.

Ann Rea: (07:13)
And there’s no better advertising than permanent freaking advertising. Don’t put his– like you don’t slap his logo, you know, like don’t do any, don’t make it–

Manasses Machado: (07:23)
No, I know.

Ann Rea: (07:23)
Keep it tasteful. And if you do this, like really it’s such a huge gain for his company. If he– and you can do this.

Manasses Machado: (07:34)
Yes. So that’s the funny thing, like, funny that you say that because that’s exactly what happened a few days back. I was struggling with that.

Ann Rea: (07:42)
I’m a psychic.

Manasses Machado: (07:42)
I was basically like, I was struggling with the whole idea of, you know, like not being sort of tied to the company kind of in a way that I was selling the work, but, you know, like with a fixed price. And if the company, you know, like keep selling for 10 years, you know, that’s it, I just had that. They own the copyright. And my price are not right as well. I realized it’s just completely, it disproportionate for the reach of the company now. So just like, I need to change it.

Ann Rea: (08:09)
This is a win-win. You’re going to sell, you know. Again, you are keeping the money in this proposition. What they’re getting in return is a permanent presence in someone’s home. There there’s no advertisement in the world that is permanent like a framed fine art print.

Manasses Machado: (08:27)
Exactly. Yes

Ann Rea: (08:28)
And what’s going to happen is after they’ve consumed the beverage and thrown it out, the customer’s probably gonna forget about it, but not if it’s above their desk or somewhere else.

Manasses Machado: (08:41)
Yes. So I came back to him and I was just like, “Look, I’m changing the model of my whole business now. And moving forward, I’m going to be, you know, I’m going to be able to, I’m going to be keeping the copyright of all my artwork.

Ann Rea: (08:53)
Yes.

Manasses Machado: (08:53)
So now we could do to make this work, you know, for the company. And then we got into an agreement basically, like he allowed me to actually keep the copyrights.

Ann Rea: (09:03)
He didn’t allow you. He didn’t allow you anything. I want to be real. I have to jump on this because there are people listening who think that they need. No, no, no, no, no, no. Your copyright belongs to you. And if anyone wants to reproduce any of your intellectual property, they’re required by law to get written permission for you or they are in breach of international copyright law. So please don’t ever think that you have to ask for permission for what already belongs to you because you don’t.

Manasses Machado: (09:36)
Yes. But that’s the thing, like I agree with him that everything moving forward, I would be keeping the copyright, but I actually managed to revert the copyright from everything that I did for the last three years ago, which was awesome. So now I can actually, and I’ve established with him. It’s like, “Look. I’m going to sell prints of this. So I’m thinking exactly where you’re saying like, you know.

Ann Rea: (09:57)
And have him help you sell the prints on like that’s such an– it’s just an easy way. Like an easy thing to do. Cause he’s got it anyway. So this is just an example of how, you know, a shift in perspective comes from when you know your purpose as an artist and when you know your mission.

Manasses Machado: (10:15)
Yeah.

Ann Rea: (10:16)
And I see this all the time. You say are really fundamental shifts that happen in my students. And it’s amazing to watch from my perspective because they come in kind of like Mana did, which is overwhelmed with, “What the hell do I do next? Do I do this? Do I do that?” And you know, when you’re presented with 50 options of what you think you should or shouldn’t do, you don’t do anything.

Manasses Machado: (10:38)
Yeah.

Ann Rea: (10:38)
You kind of just sit and stew in your juices. So let me just ask you another question.

Manasses Machado: (10:45)
Sure.

Ann Rea: (10:45)
If nothing changed, like let’s just say everything stayed the same as it was before you joined the program, What are three quick ways you think that would’ve impacted you personally?

Manasses Machado: (10:57)
I think, uh, well, to be fair, that’s another thing as wel That is good to point out that since I joined the program, I was working in a different job full-time. Since joining the program, I read so many books that you recommended and some other books that some study parts recommended that I actually decided to, you know, drop the hours on my other job and have, you know, like two, three days a week. I’m just working with art now. And I’m just focusing {unintellegible}.

Ann Rea: (11:22)
Nice.

Manasses Machado: (11:22)
Which feels amazing. And I would not have got, like, I would not have had the guts to do that, first of all. I probably would still be working, you know, like 9 to 5, 40 hours a week and just doing art on evenings and weekends basically. But again, that confidence on the art, on the business of like, I just need to make the move now because I’m just wasting time.

Ann Rea: (11:43)
Nice.

Manasses Machado: (11:44)
So confidence definitely is a major factor. I think my confidence would still would still be low if it wasn’t for the program. And not just on the, on the artwork itself, but on my offer on my mission, basically what I’m actually, you know, offering customers because before I was very focused on how can I make more money. How can I make more money? You know, and I think lots of students start the program with that kind of thinking but then you read a few of the books and realize, you know what, of course you had to know how to make money and learn how to do that. And the program teaches you that, but you have to focus on your mission and how to serve people, you know, like, and how to do that better.

Ann Rea: (12:26)
How to create value. You don’t get paid unless you create value.

Manasses Machado: (12:29)
Exactly. And once you polish that kind of, your offer basically, which is not just the artwork, it’s the whole experience of selling the art to someone and what you’re doing with your artwork as well. I think it just takes you to the whole different level. And I think that was the main thing as well.

Ann Rea: (12:48)
You wouldn’t have had the confidence you have now and you wouldn’t know what value you offer in exchange for money that wouldn’t be there. What’s another thing you think would’ve been missing from your life had you not joined the program?

Manasses Machado: (13:05)
Let me just think. I think just pure joy of making art, because like before I was making art and I wasn’t really sure what I was doing with it. But now for example, I’m working on some prototype projects that I’ve talked to the person that I know that made a permission and I feel so good about the painting. I feel like, I feel like I’m doing exactly what I’m supposed to be doing basically.

Ann Rea: (13:30)
Nice.

Manasses Machado: (13:30)
So it gives you purpose as well for your art, you know, like instead of just doing it because you don’t really know why you’re doing it sometimes.

Ann Rea: (13:37)
Right.

Manasses Machado: (13:39)
Figuring out my mission was life changing because of that, you really gave me the idea of why you’re doing this, you know?

Ann Rea: (13:47)
Yes. A lot of artists don’t know why. So just to explain real quick people, you just mentioned the Prototype Project. So I wouldn’t explain to people who are listening, what that means. So inside of the Making Art Making Money program, there are nine courses. And then there is a final prototype project and that’s essentially the time when my students really start to determine their nich. And your niche has got nothing to do with your you or your art. Knowing your niche means you know who wants to buy your art, why they want to buy it and where and how to go find more people just like them. So the Prototype Project helps you start to uncover that. It also tests what you comprehended in the previous courses, and you might need to go back and review. Or you might need to study up a little bit. And so that’s what Mana’s referring to. He’s doing Prototype Projects right now. He’s essentially selling his homework and people are either going to buy his art or not buy his art. But for the first time he’s going to learn why people bought his art and he’s going to learn why people didn’t buy his art, which is incredibly valuable instead of just feeling all rejected and sad. If someone decides not to he’ll know why, but I think you’re selling them anyway. So you’re getting great feedback.

Manasses Machado: (15:04)
Yes. That’s the thing. I think once you realize what your offer is and you reach out to the right people, you know, like not trying to reach out to just any.

Ann Rea: (15:14)
Anybody and everybody. Yes.

Manasses Machado: (15:16)
You know, like once you focus a little bit. So I have, you know, a few followers on Instagram. There’s not many, but you don’t need massive followers. As you said, you know.

Ann Rea: (15:23)
No, you don’t. It’s a vanity metric. You do not, please. I’ve heard artists are running ads for followers. Please don’t. Whoever’s giving you that wrongheaded advice, please don’t do that.

Manasses Machado: (15:36)
You don’t need it.

Ann Rea: (15:37)
You don’t need it. It’s a vanity metric and it’s not going to help you get sales. You need collectors. You need referrals. You don’t need followers. Followers means nothing.

Manasses Machado: (15:47)
Yes.

Ann Rea: (15:47)
Really means nothing.

Manasses Machado: (15:48)
But there’s very few people I had on Instagram, you know, or Facebook. They reach out to me and say, “Oh this is little comment.” Sometimes I’ve just– now I have the confidence to send them a message say, “Would like to jump on a call and have a chat about a commission, you know?” And some people say, “Yes.” And that’s how you start, you know, your relationship with them.

Ann Rea: (16:05)
Yes, exactly. And you’re– okay. So you’re from England. And I know my students from England are like really super concerned that they’re going to come across as pushy, because I’m going to teach them to be pushy.

Manasses Machado: (16:18)
No. l.

Ann Rea: (16:18)
Let me ask you, do you feel pushy when you sell your art?

Manasses Machado: (16:22)
No, actually that’s the thing like once you understand your offer and your purpose, why you make, why you’re doing it. You know, I’ve read so many books now that tell like when you are doing what you’re doing to serve people.

Ann Rea: (16:35)
Yes.

Ann Rea: (16:36)
It’s something that completely changes the purpose, the whole focus, the whole framing of the thing. So you’re not trying to sell anymore. You’re just trying to really serve and, you know, make it the best possible work for them that. You know, my idea is that I’m going to make amazing artworks that they’re going to enjoy for years to come, you know? And when you think about that, it’s just like, you know, really the price that you are charging is there’s more investment for the amount of joy and happiness and that it can take to get out of that piece of art, basically

Ann Rea: (17:09)
The completely different reframe, you know. It really is. And I also wanted to mention, so you’ve also made some friends in your study partners and I know you had a pint with one of the US students.

Manasses Machado: (17:20)
Yes, exactly.

Ann Rea: (17:21)
Right? So I think another thing that a lot of artists are very afraid of, and I understand why, is this whole idea of having study partners like, “Oh God, no! I don’t want to have to study with other artists. I don’t want to have to talk to people.” Well, you’re not going to sell any art if you don’t learn how to talk to people because selling art is really just about talking to strangers and that requires some social and emotional intelligence, which the great news is it’s something that you can actually increase over time. And we take a deliberate approach to doing that. But I know a lot of artists are afraid because other artists have been competitive or jealous or snobby or mean to them. They don’t share. But what’s your experience of study partners, Mana? Have you had that?

Manasses Machado: (18:03)
Yes. If I could add a fourth thing of that list that you asked me about.

Ann Rea: (18:07)
Yes. You can.

Manasses Machado: (18:09)
The study partners, you know, they have been massive– before I made a call to my friend with a Gin company, I had a check my study partner. I said, “I’m thinking about doing this. What do you guys think?” And they help me out. And if it wasn’t for the program, I wouldn’t have no one, you know. Like I have my partner supports me. I have friends, but they don’t really get it. You know, like they’re not an artist. They don’t have an art business. So sometimes they try to help out, but they don’t have the same framing. And my study partners, which I actually call them friends now, you know, they really gave me the, you know, like the boost of confidence and gave me some good notes. And I just went with it, you know, like kind of organized and knowing exactly where I was going with the conversation and it completely changed it.

Manasses Machado: (18:50)
So the community itself, you know, just you know, being able to talk to people that are on a similar kind of situation, same boat as you, and just in the community as well on the Facebook community, reading what people are going through, you know, you learn by helping other people, which is awesome. And there’s always one with a question that you never thought about. It’s like, “Oh yeah, that’s actually interesting.” You know, like I want to talk about that. So it’s just the value of the community itself and the study partners als. It’s– yes, it’s massive. Like I think it’s just, you wouldn’t have that otherwise, you know, most artists wouldn’t have that otherwise, I think.

Ann Rea: (19:28)
Yes. So I have to say I’ve heard a number of times from my students over the years that they would pay for access to the community alone. Like that itself would be worth the price of admission, just that. So, let’s see. One thing I do want to ask you about. We asked you that. We asked you that, I guess this, oh, here’s a good question. I almost didn’t join the Making Art Making Money program because?

Manasses Machado: (20:01)
Money. I was like–

Ann Rea: (20:04)
Isn’t that the ironic reason?

Manasses Machado: (20:06)
Yes, it’s hilarious because it’s just like you’re just so worried about pennies when you join in, you know, and you’re just like, “Oh, should I invest it? Should I not?” You know, you feel like it’s a big investment and then once you go through it and you get some of the biggest kind of changes in your whole perspective, you go, like, “That was nothing.” You’re just like, “I’m going to make that off, you know, like like five minutes basically, you know. And it’s just like, it just completely changed its perspective as well. Like it is basically, you know, I know everyone that in your interview says that, but if you are considering about joining or not joining, I would join because, you know, it’s that first. That kind of thing that you always regret the things that you haven’t done, you know?

Ann Rea: (20:56)
Yes.

Manasses Machado: (20:56)
So, and what you always say is oh and I can vouch for that is just like, you don’t know what you don’t know.

Ann Rea: (21:02)
Exactly.

Manasses Machado: (21:02)
Like you’re going to find it out through the program and you’re going to have so many realizations and you’re going to have different new problems that you’re going to encounter that, but it’s going to make you much more mature as an art business kind of, you know, entrepreneur and all that. So I think in the beginning, you’re sort of like afraid of investment, that money not being worth it, but it’s just, it’s just fear. And you just have to let go of it because you know, like you cannot get anywhere in your business. If you have fear to invest in something that is literally going give you the keys to open so many doors that you don’t even know you need to open right now, basically. That’s what I would say.

Ann Rea: (21:47)
Yes, exactly. I mean, here, you don’t know what you don’t know, and you are not going to succeed alone. No one succeeds alone. I just want to, I wanna make an announcement. This is new Mana. I actually– we’re going to be increasing the tuition by 50% that’s happening on the 12th.

Manasses Machado: (22:05)
But that’s still worth it.

Ann Rea: (22:06)
Still worth it. So listen, okay. It’s not me saying it. That’s my student saying it. It’s still worth it. But we’re also going to be adding a new 100% no risk guarantee. And so what that looks like specifically is if you enroll the higher tuition, you have to make your tuition investment back at a minimum in order to graduate from my program, which you’ve done. Right? You’ve done that.

Manasses Machado: (22:33)
Yes.

Ann Rea: (22:34)
And if for some reason you don’t, we’ll keep working with you for free until you do, as long as you complete all of the courses and the associated assignments within six months, which is not hard. It was originally designed to be a 90 day intensive. So six months is plenty of time. So that’s just whatI want to announce. That’s a new, like, what the hell is your problem? Why are you waiting?

Manasses Machado: (22:58)
Actually, if you’re going to get the community, you know, moving forward as well until you actually make your tuition back and all that. And it’s just, I think it’s just amazing value. It just gives you that kind of peace of mind as well that you will, you know, like if you follow the steps and if you take it, you know, a separate a time, you will get there, you know. And you will change your whole perspective on your business basically. I think it’s definitely still worth it. You know, I’ll do it over.

Ann Rea: (23:28)
Yes. I would say. And even I had my colleagues say that, “It’s still not enough, Ann. You’ve got to raise it. It’s not enough.” And I’m dead serious about that. And if you look at, but that aside, I will just leave. I want to leave everyone with the lesson that I had to learn. I had to learn it the hard way. And I had to learn it over time that every time I invested in my business, I got a return. I either got it right away, or I got it down the road, but I never ever once regretted either investing in myself personally or investing in my business. It’s just always.

Manasses Machado: (24:04)
Exactly. You never will regret that. And again, I just want to give anyone that has any sort of doubts a really quick rundown. Because again, it’s not just about, you know, what your purpose is. Maybe you already know that, but it’s so much stuff like how to organize your finances in a way, and how to, you know, like to actually talk to your customers, how to focus, you know, on the right things, how to plan your art business. There’s so much value in it that it’s just like, and again, I did it in three months initially because I knew that was going to have stuff that was going to come back to. So I did it maybe three and half months, but then once I started reaching out to, you know, to people for the Prototype Project, you know, for actual commissions, I went back to some lessons to review I guess. “Oh yeah. Yes.” And then you’re just like make your notes. And then it’s just so much good information that honestly, I haven’t found a situation in my art business so far that is not, I cannot refer back to the program basically too. So it’s very complete. It’s very rounded.

Ann Rea: (25:10)
So besides making more money, obviously from the sale of your art, is it just, is it easier now just to do it?

Manasses Machado: (25:18)
Oh yes. It’s just, again, it’s the whole approach because once you, I think before it was very daunting for me to reach out to anyone that left a comment on, you know, Facebook and Instagram. They’ll say, “Oh, your art is great!” And I was just like, “Oh great, thanks.” You know, like, and that was it, the conversation will stop there.

Ann Rea: (25:36)
Now, what do I do?

Manasses Machado: (25:38)
You know, I didn’t know what to do next. I didn’t know how to talk to them. I didn’t know what I was going to say if I got them on a call, you know, like I had no idea what I was doing basically. I didn’t know I had to offer. So once I got the information of who I am as an artist, what my mission is, my product, how is the best way that I found for me to offer the product, you know, and how best to serve, you know, people that are interested in my artwork, people that are in my niche, it just became so much easier. It’s just like now I just have a conversation with people. I know how to guide the conversation so that I know where we’re going. I know how to introduce the product and explain to them what I want to do for them. And if we’re both happy with the agreement, great, you know.

Ann Rea: (26:25)
It’s so much more relaxed. So I just want to finish by saying, look, I would highly encourage you. We have a complimentary course that we offer and it’s “The 5 Perspectives of Prosperity with Making Art Making Money.” And I highly recommend that you, um, register for that now while it’s still available for free. And it’ll help, I think, shape a perspective for you. If you’re struggling with turning those compliments into sales. Cause if someone compliments you, that’s an opportunity to start a conversation

Manasses Machado: (27:01)
Like don’t ever just say, “thank you.”

Ann Rea: (27:02)
No!

Ann Rea: (27:04)

Manasses Machado: (27:05)
That is a sale potential. You know, and again, I’m not just talking from the, again, the money side of things. That is potentially your new best collector. That is potentially person that’s going to refer you to the next big collector. You don’t know. Keep that conversation rolling basically. You know, again it’s something, those things I know that they can feel daunting now, but once you get a bit more practice, if you go through the program it’s always going to give you lots of help on how to do that. And it just, it just takes you to the next level. And then, and then you can start focusing on making the art that you love and actually selling for the price that you think is fair and to the people that will actually appreciate what you’re doing basically.

Ann Rea: (27:51)
Yes. Yes. Well, thank you so much. I’m so proud of you. I’ve seen this incredible evolution from when you started.

Manasses Machado: (27:58)
I’m so grateful for your program. Like I think you hear that all the time, but before I joined, I had a good feeling about it, of course. You know, that’s why I joined in the end. But you always sort of second guess yourself and you sort of like not sure about it. But once I joined and I realized what your mission was and how you do that and how you change all these people’s lives, it just sort of blew my mind a little bit because now I get the whole thing that you do. So yeah. Thank you for everything that you’ve done as well, for your support.

Ann Rea: (28:28)
You’re very welcome. And so, without explaining my entire mission, the essence of it is to help other artists like Mana. Take your power back from the scarcity and permission-based art establishment by teaching you your niche, meaning teaching you how you can learn. You can learn just like you learned how to make art, you can learn who wants to buy your art. You can learn why they want to buy it and you can learn how and where to go find more people just like them, just like Mana is doing right now. So thank you so much again for your time and I will see you back in the program.

Manasses Machado: (29:06)
Yes, I’ll see you soon.

Ann Rea: (29:07)
Okay, take care. Bye!

Ann Rea

Ann Rea, Fine Artist & Mentor

Ann Rea is a San Francisco-based fine artist. She created Making Art Making Money®, the leading and most reputable business program for fine artists since 2005. Rea’s art and business savvy have been featured on ABC, HGTV, Creative Live, The Good Life Project, in the book Career Renegade by Jonathan Fields, the San Francisco Chronicle, Art Business News, Fortune, and Inc. Magazines. Rea’s artistic talent was commended by her mentor, art icon Wayne Thiebaud. 

Learn The 5 Perspectives of Prosperity, Making Art Making Money®. 

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