Autoresponder Sequence The series of emails subscribers receive when they sign up for my list
When a subscriber signs up for my email list, they receive the following 4 messages, one every 2 days.
For the sake of simplicity, I’ve removed the images and links, so you can simply read the text.
Email One: Welcome
Thank you for your interest in my paintings – I appreciate it more than I can tell you.
By subscribing to this list, you will see my newly-completed pieces about a week before anybody else.
More than just showing you new paintings, my emails also weave an ongoing narrative about art – appreciating it, making it, and just learning more about it.
These are thoughts that I only share with my subscribers.
I wasn’t born to be an artist. I came to it gradually, and later than most of my peers. A turning point on my journey happened on a bitterly cold February morning.
But before that, I’d like to ask a little about you.
Knowing your main area of interest will help me offer you the right kind of additional content – things I also make available only to my subscribers.
Please click the blue button below that best describes you.
You’ll be taken to a thank you page on my website that confirms I’ve gotten the information. (This choice isn’t set in stone, and you can change it later).
PS: In a few days I’ll introduce myself to you and invite you to a virtual tour of my studio.
Look for an email from me (Jeffrey Hayes / firstname.lastname@example.org) with the subject line “How I Became an Artist”
Email Two: About Me
I didn’t go to art school.
In fact, I didn’t even pick up a paintbrush until I was 30, and already building a career as a computer programmer.
But… it was something I always wanted to try.
As a gift to myself on my 30th birthday, I bought a simple oil painting set, and got busy.
The first painting was terrible.
The second painting was terrible.
The third painting was terrible.
And so on… until at a certain point they started becoming a little less terrible than the ones before. By that point, I was hooked.
For the first few years, I painted mostly landscapes. I painted them outside, on location, regardless of the weather. You have to work fast, because the light changes rapidly. I still think that’s the best way for a painter to hone their ability to see clearly and accurately.
One February morning, I got up about two hours before I had to leave for work. At the time, I lived in downtown Boston, about a block from the Charles River Esplanade – that’s the park where the Boston Pops plays its annual Fourth of July concert.
I wanted to go down to the Esplanade so I could paint the ice-covered river and one of the bridges that crosses it.
It was cold.
Brutally, bitterly cold.
So cold that the oil paint was freezing onto the palette, and I could hardly move my fingers to control the brushes.
But I kept going…
After about an hour of this, I had a realization of sorts: When pursuing their hobbies, most people don’t subject themselves to this kind of treament. Painting was much more than just a simple hobby to me.
It was a passion – a meaning.
That understanding changed the way I looked at painting, and I started to become more serious about it. I also began to wonder if it might eventually become a career.
At that point, I sought out formal training. Not for long – about a year – but with an exceptional teacher, and I learned as much as I possibly could.
During that year of study, I began to move my focus from landscape to still life. I was – and still am – fascinated by the range and variety of possibilities that still life offers. Entire worlds can be created – the only limit is the artist’s imagination.
I also began researching some of the traditional, centuries-old techniques that I use to create my paintings. There’s even one technique that involves garlic. Yes, garlic.
Several years after that February morning, I left my career in technology and became a full-artist.
I have never looked back.
An artist needs a place to work. In a few days, I’ll invite you for a look into my studio and give you an overview of how I create my paintings. Look for an email from me (Jeffrey Hayes / email@example.com) with the subject line “How a Painting is Made”
PS – Would you be interested in taking a brief guided tour of five paintings that I think are among my best?
Click the blue button below.
You’ll be taken to a page on my website with images of the paintings and a short discussion of what I like about each one.
Email Three: Behind The Scenes
My current studio is in my home, even though I nearly laughed when I first saw it.
Working at home has major advantages and a few drawbacks. I’ve had a number of different studios over the years, and this is what works well for me – drawbacks and all.
I created it by remodeling a room the previous owner used as a den. When the real estate agent showed me the room, I could hardly believe it. It made no sense as a den – it was 8 feet wide and 20 feet long.
But I could immediately see it would make a perfect studio.
The length of the room allows me to back up and view the paintings from a distance – 20 feet from the easel, in fact. It’s important to be able to see the work as a whole, not just a collection of details and brushstrokes.
The process of creating one of my paintings is lengthy – it can be months from start to finish. Of course, I work on many paintings at once. While some are drying in between stages, I’m busy working on others.
Long before I pick up a brush, I arrange the composition in a very precise way. This can take hours to get right – even as much as a day for larger work.
Once it’s arranged to my satisfaction, I’ll make several sketches and studies, both in pencil and in paint. These help me work my way into the heart and soul of the subject – they help me begin to realize what the painting will be about.
To begin the painting, a careful drawing is made on the surface I’m working on – sometimes linen, but usually a prepared wood panel.
Frequently, a preliminary version in black and white is painted on top of the drawing. Known as an underpainting, this allows me to accurately work out the patterns of light and dark. This way, the complexities of full color are saved for the next stage. It also serves as a kind of dress rehearsal for the final stage.
Once the underpainting is dry, I begin to paint the color layer on top of it. This is what you see when you look at a completed painting. As I’m concentrating on full details and mixing a lot of color, this is the longest part of the process.
After fully drying – which can take a few weeks up to several months – the painting is finally finished.
It’s ready for a protective coat of varnish, framing, and – hopefully – an appreciative collector’s wall.
As I’ve just shared with you, my studio basically works like an assembly line. My next painting is almost done drying.
Before showing it to you, I’d like to let you know what future emails from me will be like. In a few days, look for an email with the subject line “What to Expect”.
PS: I almost forgot about the garlic!
A small number of my paintings are done on thin sheets of copper – a support that has been used for hundreds of years.
It’s a beautiful surface to paint on, but it requires some work to prepare it.
The traditional process involves a number of steps. Towards the end, a clove of garlic is sliced and rubbed on the metal. The garlic is very slightly acidic, and this lightly etches the copper – making it easier for the paint to adhere to it.
It’s a good thing I love garlic.
PPS: I’ve prepared a short video that you might enjoy. It shows a painting evolve from a simple idea to a finished artwork.
Click the blue button below to see it – it will take you to a video hosted on YouTube.
Email Four: Collecting My Work
My next painting is nearly finished drying.
Soon – within about a week – I will share it with you right here in your inbox.
Following that, I’ll send you new paintings once they are finished. This is about once a week; less often if I’m working on bigger pieces.
My emails are a little unusual. That’s why I think you’ll enjoy them.
More than just showing you new paintings, they also weave an ongoing narrative. It’s all broadly about art, but there’s room within that big subject to talk about a wide range of things.
Some of the stories I tell and ideas I discuss span multiple emails. In the beginning, you might be dropped right into the middle of a story. I hope that’s not too unwelcoming – after a few emails what I’m trying to say should be a little clearer.
At some point, you may see a painting that speaks to you, and that you want to have as your own.
I’d like to explain the process of buying a painting from me, so you will know what to expect if that moment arises.
Seeing paintings online is not exactly the same as seeing them in person.
Nevertheless, I try to replicate the experience as much as possible. That way you can have a clear and complete view of the painting.
Not only will you see full images of the painting and its frame, but there will also be detail images that let you get as close as possible to the work.
With larger pieces, I will also show you a video of the painting for a richer visual experience.
My guarantee is simple.
I want you to be even more delighted when you unwrap your painting than when you saw it online.
If not, you may return it to me for a full refund of the purchase price and the cost of return shipping.
Once purchased, your painting will ship on the next business day.
I take every care to ensure your painting arrives in the same condition as it left my studio.
It will be wrapped in multiple layers of protective material, keeping it secure even if the outer box sustains minor damage.
Insurance for the full purchase price guarantees against any issues during shipment and provides confidence and peace of mind throughout.
It’s truly an honor to be able to share my work with you this way. I look forward to showing you my new paintings, and am grateful you’re taking a few steps of this journey with me.
I can’t thank you enough for your interest and attention,
PS: Is there anything you’re curious to know regarding the arts, painting, or what it’s like to be a working artist? If so, I might be able to talk about it in to my emails.
Let me know – just hit reply to this or any other email you receive from me.