Ready to increase your online art sales? Present your work beautifully by sharing the impact and scale of artwork with potential collectors through the use of in situ images. Offering room views enhances the shopping experience, and increases customer confidence. Creating these images doesn’t require Photoshop or even a high level of technical ability. Check out the tools below and start showcasing your own art in virtual rooms!
This site offers a paid service that ranges from $11 – $59 per month, and serves a variety of clients, including artists, galleries and art consultants. Place your artwork in an uploaded image of a collector’s wall to give them a preview. Or, design and create an entire exhibition of work on a virtual gallery wall or exhibition booth.

This option is a smartphone app that superimposes your work on a selection of interiors. Room settings are updated frequently, and different colored walls are available. Select frames to suggest hanging options, and easily share your images. ArtRooms has a high customer satisfaction rating. Try it for the first month at $3.99, then pay a monthly fee of $7.99.
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This cool site lets you customize a mockup right in your browser with an easy drag and drop feature. Use a pre-made template or build it yourself on a “blank canvas” and place your art in the setting. They offer flexible pricing so you can pay for only what you need, ranging from $5 for a single download to $69 for unlimited annual use.
A smartphone app, iArtView is useful for artists as well as trade professionals. Show artwork at scale in a selection from their collection of interior photos. Choose a frame option if desired. Adjust the lighting, select a wall color, edit, save and share easily. Very handy at a fair! Pricing options start at free.
Powered by OhMyPrints.com, their drag-and-drop tool allows you to place artwork or photography in a variety of room setting options, clicking through to choose your favorite, or uploading a room of your choice to customize it. Although you cannot set it “at scale” you can change the size of the art image within the background to your estimated size. This tool is free to use. A small watermark will show up on the final image.
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Want to stay current on cutting edge business articles from Artsy Shark, plus artist features, and an invitation to the next Call for Artists? Subscribe to our twice-monthly Updates, and get a free e-book on Where to Sell Art Online right now!Digital editon art marketplace and platform s[edition] brings work by artists such as Tracy Emin to new and wider audiences and collectors. Photograph: S[edition]
Screens are the new walls, finds Matthew Caines, as he talks to culture startup s[edition] about digital art and selling art digitally
I am officially an art collector, the proud owner of a limited edition work by Mark Titchner – it's number 38 to be precise, from a run of 1, 500. Called Tantric Separation, it depicts a man and woman engaged in one of the Kama Sutra's more ambitious entries, against an acid trip-induced kaleidoscopic background that resembles a Rorschach test card. Oh, and it moves. On continuous loop. Dazzling. Absorbing. Hypnotic.
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It stirs something inside me when I look at it, but not in the usual critical way; it's not about adoration or appreciation. Rather, it makes me feel important; I push out my chest and stand taller because it's the first piece of real art I own. When I'm old and my collection has grown and evolved, I'll look back on this grand event with a smile. "Mine was a Titchner, " I'll say.

A little over the top? Perhaps. Should I go and have a cry now? Maybe. But it's the truth, and what a strong emotional response that is for a piece of digital art that cost me a modest £10 online. It's what art should do – affect and move people.
So allow me to introduce you to my digital art dealer, s[edition] – an online platform and marketplace for affordable limited edition digital artworks. You can log in and buy one of 2, 000 editions of Damien Hirst's diamond-studded baby skull For Heaven's Sake (the higher end of the affordable scale at £500) or an Emin Neon for the cost of a night out: just £50, a fraction of the usual £30, 000 guide price for an original.
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There are works by Yoko Ono, Shepard Fairey and fashion designer Mary Katrantzou. The cheapest works come in at £5, while a 100-strong edition artwork by Elmgreen & Dragset tops the list at a grand. Each piece is delivered into your virtual online vault, along with an artist-signed certificate of authenticity (crucially, to ensure you can sell on your pieces when and if their stock rises) – then simply download and access your works on any of modern tech's usual suspects: smartphone, tablet, laptop, PC or connected TV.
With galleries looking to widen access and offer more affordable routes to buying works, is the art world really ready to flick the switch over to digital?

I first heard of s[edition] around the time of its launch in November 2011. I met it with scepticism. Buying and experiencing art is about being up close: the minute details of texture and brush stroke; that initial visceral reaction; vivid colours you can't appreciate on a print-off; the size, scale and even smell – how could buying art digitally recreate that magic?
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I put it bluntly to the site's co-founder Robert Norton: is there really a market for digital art? "Absolutely, " he replied firmly. "The question is: how big is the market and how pervasive is it going to be? My opinion is that everybody who has screens in their daily life, will at some point start to consider putting art on those screens."
It's by no means a wild view of things. The Halifax Insurance Digital Home Index this year revealed some facts and figures around device use in the UK, claiming that over 46 million people carry a mobile phone with them at all times. Perhaps most shockingly was the prediction that the average child born today will spend almost a quarter of their life – a staggering 18 years of 80 – using non work-related screen technology.
"Screens are the new walls. We're not going to get away from the fact that more and more of our lives are spent in front of digital interfaces, and I believe passionately the world will be a poorer place without art on these screens, " added Norton. "We're the first company to offer art purely in digital format for the screen, sold as digital limited editions."

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So who's buying? Last month I chaired an online discussion about selling art (how hard can it really be?) and one of the observations from the panel that really struck me was that art galleries need to stop chasing the ideal of the collector – they focus so hard on chasing that elusive perfect buyer that most miss the genuine interest from more everyday angles. "Even serious collectors were once first time buyers. Let's not forget that, " concluded Own Art's Mary-Alice Stack.
It's an angle s[edition] are driving, and to good effect. "There's a 40% repeat purchase rate that we're seeing with customers on the site, " said Norton. "It means that when someone comes on and buys an artwork – once they believe in the value proposition of buying a work that is originally created, signed, numbered and authenticated by the artist – they are over the hurdle of considering themselves a collector."
Vitally, it's about giving people the opportunity to take that first step, and it's attracting collectors and first-time buyers from all walks of life: students, software developers, bankers, marketers, journalists as well as artists and gallerists. Top collector Frans Oomen has 108 works to his name. And they're all displaying works and collections in the usual, and not so usual, ways: in the garden; on second screens at work, rigged-up iPad installations, on coffee tables and living room TVs.
Not Digital Art, But Art Learned Digitally
It's relatively early days for the company, that 15 months down the line is still finding out things about its collectors and buyers. More interesting perhaps is what projects like s[edition] offer artists as well: new routes to audiences; new tools to play with.

Bringing in the big-money, headline names early on was deliberate, explained Norton: "That was attractive to them, suddenly having a digital proposition, managed by people with a strong digital background and expertise, who took intellectual property seriously, and found the right balance between protecting those rights, but also providing new audiences with something that was an entry-level position to collecting."
Visual Art Trader posted an interesting comment on one of my articles recently, that "the majority of established collectors and emerging buyers would not consider buying art online, unseen." I think s[edition] is just that, a new form of collecting and buying where digital-only editions can be seen, collected and shared online. But not in a restricting way – these works can also
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