Art Money & Success

by Maria Brophy

  Many artists are afraid to talk about how much they charge. They fear competition or judgment. I don’t believe in competition when it comes to art. Art is so unique and personal that there is no way to compete. There is never going to be another Drew Brophy, even if someone tries. And there is never going to be another you.

  PRICING PAINTINGS

  Below are two different ways to price paintings. I used the example of $6.00 per square inch for oil paintings because I know many oil painters that charge about that plus framing. However, the numbers shown are just examples. You will have to come up with your own pricing that works best for you.

  Oil paintings are priced higher than acrylics and watercolors. Watercolors are priced higher than acrylics but lower than oils. If you are painting in various mediums, you would create different price structures for each. Also, if you are painting on paper, it tends to sell for less than a painting on canvas.

  Pricing paintings by the Square Inch:

  To price by the square inch, multiply the length of the painting by the height to get the total square inches. Then, multiply your square inches by your per-square-inch price.

  Example: Painting is sized 8"x10". Eight inches multiplied by ten inches equals 80 square inches. Multiply 80 by your per square inch price of $6.00 and your total painting price is $480.00. Round your price up to the nearest dollar, $500.

  Using the per square inch method, your painting prices may look like this:

  6"x8"=60 square inches x $6.00 = $360, round down to $350

  11"x14"=154 square inches x $6.00 = $924, round down to $900

  18"x24"=432 square inches x $6.00 = $2,592 round up to $2,600

  Sometimes using a per-square-inch price structure doesn’t work, particularly if you are an artist who paints on a wide range of sizes. As you can see, the various size examples above, using the per-square-inch pricing, provides for a huge price fluctuation between the smaller paintings and the larger ones.

  If you want something with less variation, you can charge by the Linear Inch instead. This pricing structure actually makes a lot of sense, and I just learned about it last year by reading a blog post by Melissa Dinwiddie, on www.TheAbundantArtist.com.

  Pricing paintings by the Linear Inch:

  To price by the linear inch, you would add the length of the painting by the height to get the total linear inches. Then, multiply your linear inches by your per-linear-inch price. For this example we will use a price of $27.00 per linear inch.

  Example: Painting is sized 8"x10". Eight inches plus ten inches equals 18 linear inches. Multiply 18 by your per-linear-inch cost of $27.00 and your total painting price is $486.00. Round your price up to the nearest dollar, which in this example is $500.

  Using the per linear inch method, charging $27 per linear inch, your painting prices will look like this:

  6"x8"=14 linear inches x $27.00 = $378, round up to $400

  11"x14"=25 linear inches x $27.00 = $675, round up to $700

  18"x24"=42 linear inches x $27.00 = $1,134 round down to $1,100

  ADD FRAMING TO THE PRICE

  If you frame the artwork, take the framing cost and multiply it by two. For example, if the frame cost is $60, multiply that by 2 and add $120 to the cost of the painting.

  The reason for doubling your frame cost is this: when selling through a gallery or retail store, you will share your sale price 50/50 with the gallery. Even if selling direct to collectors, you want to keep your pricing stable regardless of where you are selling the work.

  TIME BLOCK PRICING

  For random projects that cannot be structured because they are so unique, we price based on the size of the project. We estimate the amount of time it will take and multiply that by Drew’s weekly rate, and often add padding to it, because as you know, everything always takes longer than planned.

  A few years ago an eclectic art lover brought Drew a female mannequin to paint. That was difficult to price because we had no idea what was involved with painting a mannequin. We decided to charge our weekly rate times two, as we estimated it would take Drew about 6-8 days to paint.

  Refer to your worksheet on setting your income goals to determine your daily and weekly rate. Using time blocks to price out projects is an easy solution to not knowing what to charge. Using the example of an income goal of $72,000 a year, your weekly rate is $1,500 a week. If you are offered a project that you estimate will take two weeks, charge $3,000 plus your expenses. If the project is estimated to take 3 days, charge your daily rate of $300 x 3 = $900 plus expenses. Always pad your timing a little, as things can take longer than planned. If a two week project took one and a half weeks, and you feel guilty for overcharging, you can always refund your client. But if you proposed it would take two weeks and it took three, it’s hard to charge your client more after the fact.

  RAISING PRICES

  The time to raise prices is when your work is in high demand and when the cost of your materials go up. If you are having trouble completing all of the work that is coming to you, that’s a sign to raise your prices immediately.

  If your prices are the same as they were three years ago, evaluate what you’re charging. The price of everything has gone up, including food and housing. Your prices should reflect that.

  Don’t be afraid to raise your prices with existing clients. Let them know that you are raising your prices to stay in line with inflation and the increased cost of doing business.

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  COMMISSIONED WORKS

  “Honest poverty is a gem that even a King

  might call his own, but I wish to sell out.”

  —Mark Twain

  A commissioned work is when a client asks you to create something custom just for them, instead of buying what you have already created. Some clients will have a specific idea of what they want the theme, color scheme or size to be.

  Most of Drew’s paintings are commissioned. Some of our clients aren’t very specific about what they want painted. They will give vague instructions, such as, “I like how you paint your suns and your big waves. Just paint me something with those in there.” We love when a client gives Drew freedom to create however he wants, as that’s when he does his best work.

  Other clients will be very specific about what they want. One client, who is an animal biologist, commissioned a beach scene with turtles and his family on the beach in the background. Since Drew’s work is surreal in nature, the family was painted as silhouettes on the beach and the turtles in the foreground. We named this painting Turtle Beach. This painting appealed to so many people, that we decided to make it available as canvas reproductions. We removed the two children figures in the art from the digital file, showing only the two adults in the piece. It has become a popular image for reproduction sales.

  When someone commissions a piece, even if they direct what is being painted, the artist still owns the copyrights to the artwork and retains reproduction rights. With Drew’s work, if the painting appeals to the masses, we will make print reproductions of it. Sometimes we will license it for products as well. This is how we leverage Drew’s time and earn money off of a painting more than once.

  SELLING OUT

  Some artists agonize over whether or not they should paint what other people ask them to paint. They worry that by doing so, they are compromising their artistic purpose.

  I met a young artist on the beach in South Carolina one summer. She told me that she had quit her job, got a business loan and started her art business. She felt fortunate that she was already selling art and getting a lot of commissions, but one thing worried her. A lot of her clients asked her to paint things she normally wouldn’t paint. She asked, “Am I selling out if I paint dogs? I don’t like painting dogs.”

  This idea of selling out has always baffled me. Some people think that selling out means you earn money from selling your work commercially. Some think it’s when you create what others tell you to. Selling out is none of this.

  Selling out is when yo
u agree to do something that goes against your personal values, just for money. For every single person, selling out is different, because we all have very different personal values.

  A person who doesn’t believe in drinking alcohol would be selling out if they accepted a commission from a liquor company. A person who despises corporate greed is selling out when they accept a large grant that’s funded by Microsoft.

  Painting subject matter that your client asks you to isn’t selling out. Most artists will benefit from the opportunity to experiment in different styles, mediums and subject matter, while being paid to do it.

  They may be asked to paint something they normally wouldn’t, only to discover a spark of energy, one that wakes up a part of them, and through that exercise they discover something that they love.

  Experimenting can open an entire new world of possibilities for an artist. And at the same time, you don’t have to go back to that old job that doesn’t do anything for your art career, because you are earning money with your art.

  WHEN SHOULD YOU NOT ACCEPT

  A COMMISSION

  If it goes against your personal values, don’t do it. Or, if a client asks you to create something that you know you are not very good at, then refer it out to another artist.

  Sometimes Drew will be requested to paint a portrait. Drew is not a portrait artist, so we will refer those commissions to other artists whom we know will do a great job with it.

  After you are fully established and you have a distinctive style, you may decide to no longer accept commissions that require you to stray from your own style.

  While Drew is fully capable of painting in other styles, at this point in his career, he chooses not to. When a client asks for something in a different style, we tell them that Drew prefers to paint in his own style. They can then decide if they want to have Drew do it or find another artist.

  HOW TO HANDLE THE BUSINESS

  OF A COMMISSION

  When a client asks you to create a commissioned piece of work, follow these steps for a smooth transaction. The steps shown below uses a painting commission as an example. But you can replace the painting details with details that fit your situation, for illustration, digital design, sculpture, etc.

  CONVERSATION & UNDERSTANDING: First things first; have a detailed conversation. Ask enough questions so that you get a full understanding of what they want, regarding size, colors, theme, orientation (vertical or horizontal) and any other detail that you need to know.

  After you have gained an understanding of what they want, communicate to them how you work. Tell them that you will write up a price quote and send it by email or text. Tell them that once you receive their installment payment, you’ll begin work on the sketches.

  It’s important to let them know in the first conversation that you will begin work after the installment is paid. This way, you avoid misunderstanding. The installment payment is a green light for you to get started.

  If you don’t have set pricing on what they are asking for, do not give a price quote in the first conversation. This is where most artists under-price themselves, because they haven’t taken the time to price it out properly before blurting out a dollar amount that they later regret.

  Once you give a price, it’s hard to come back later and give a higher amount. If they ask you how much it will be and you aren’t 100% sure, tell them “I will have to research my costs and get back to you on that.”

  If you do have set pricing, for example, you know that for an 18"x24" canvas painting you charge $1,800, then you can tell them the price. But still, you want to follow up in writing so that you can write up all the other details, such as how many sketches are included, the copyright information, how much sales tax will be added and how much shipping will cost. Writing out the details are important, so that there are no misunderstandings later.

  PRICE QUOTE: Write up a price quote and send it by email or text. I find email to be easier, but some people prefer text. If you do send it by text, keep a copy of what you sent.

  Thank your client for the opportunity and be sure the price quote includes the following (the numbers below can be changed as needed, these are just examples):

  DESCRIPTION includes their requested details, size, medium and any other detail necessary (i.e. Turtles on the beach with mother, father and two children; large wave and bright sun in background. Father holding fishing rod, painted vertically on 24"x36" gallery wrapped canvas.)

  PRICE (i.e. Price is $2,500 plus shipping and 8% sales tax. A 50% non-refundable installment payment of $1,250 is payable to begin the sketch process. Add 4% to the total for credit card or Paypal payments. Full balance is due upon completion of work. Artwork will be shipped/delivered/available for pick up upon receipt of balance due.) Note: I was advised by one attorney to use the word “installment” rather than “deposit” because according to some laws in the U.S., an installment can be considered non-refundable while a deposit sometimes cannot.

  It’s important for the installment payment to be non-refundable, to protect yourself from a client who changes their mind after you spend hours working on their commission. I had this happen once, and we were stuck with a painting that was very personal to the client and couldn’t resell it. We took a little comfort knowing that at least we were paid 50% up front which partially covered the time and materials spent on it.

  SKETCH PROCESS: (i.e. Sketches will be provided for client’s approval or changes. Up to three sketches are included in price. Any sketch changes beyond the third sketch incurs an additional sketch fee of $200 per sketch.)

  COPYRIGHT NOTICE (i.e. Artist retains all copyrights and reserves the right to reproduce artwork in any manner in the future.)

  TIMING (i.e. Allow two to three weeks delivery after final sketch approval.)

  SKETCH PROCESS: Once your client submits the installment payment, you can begin the sketch or concept process.

  One exception to this rule is if you are brand new at the art business and you do not have a portfolio and your client is not sure if you can do the job; in this case, you might you have to convince them to trust you, and you can do that by working up a sketch and showing them. If submitting sketches before the installment gets you the job, then do that. And then, once they approve the sketch, require your 50% installment payment before beginning the rest of the work.

  On every sketch, sign your name and copyright notice, like this: “Artwork (c) Drew Brophy”.

  No one has the right to take your sketches and do what they want with them, not without your approval. Writing your name and (c) notice on the sketch announces that the art in the sketch is owned by you.

  For the sketch process itself, every artist has a different way of doing it. The way we handle it is, Drew will work up two to three rough concepts with different layouts and then send those to the client via text or email. Then the client can choose their favorite concept and ask for changes if need be.

  After that first feedback, Drew will refine the sketch and submit one follow up sketch for their approval or last bit of changes.

  One reason we limit sketches to three is so that the client is motivated to be crystal clear on what they want in the very beginning. In the past, we didn’t limit sketches and we would have some clients change their minds over and over again, resulting in a lot of wasted time for Drew.

  Now that we tell the client they will be charged for sketch changes beyond three, we never have the sketch process drag on. It’s amazing how these little strategies are big time savers! You don’t have to limit your sketches to three, like we do. Find a system that works best for you.

  Save your sketches. They will be historical documents in the future, or you can sell them as artwork. We save all of Drew’s sketches in a large container. We have one collector that only buys sketches. He prefers the rough sketches with Drew’s notes all over them, showing the creative thought process behind the concept. After years of work, your sketches will be of historical value to you and possibly
collectors.

  CREATION PROCESS: Once the sketch or concept is approved by your client, you can move onto creating the art. Send your client photos as the work progresses to keep them updated. At this point, there are no more changes that can be made by the client. We make sure the client knows that their approval of the sketch is final, before the painting begins.

  COMPLETION: When the work is finished, send your client a final photo and an invoice that includes sales tax and shipping (if applicable).

  Tell them: “The work is complete. Once I receive final payment of $____ I will ship it to you (or email the high res to you). Payment can be sent by _____________ (fill in the blank, your preference for receiving payment). Thank you!”

  FOLLOW UP: A week after the art is finished, send your client a handwritten thank you note in the mail. This is old fashioned but goes a long way to further win the heart of your client. People appreciate getting a thank you note via snail mail, because of the time you took to write and send it.

  SCRIPT FOR A COMMISSIONED

  PAINTING PROPOSAL

  Below is an email script that you can use as a guide for a price quote. This script is an example that can be used for a commissioned painting, but you can use this format for any type of artwork. Change the details as needed.

  Dear Joe,

  Thank you for your interest in a commissioned painting. I’m very excited to create the art for you.

  Below is my proposal:

  Description: One commissioned painting on gallery-wrapped canvas, unframed, using acrylics as medium, sized 18"x 24", painted horizontal.

  Theme: A view of Catalina Island from San Clemente, during sunset, including palm trees and the pier in the foreground.

  Price: $1,800.00 plus shipping (to be determined) and 8% CA sales tax.

  The price includes up to three sets of sketch changes for your approval prior to painting. (Additional sketch changes beyond the third sketch incurs a $100 per sketch fee.)

  Artwork copyrights: are owned by the artist (me) and I retain all rights to reproduce the art in the future.