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Commissioned Art

by Keith Bond on 5/3/2010 2:08:47 PM

This article is by Keith Bond, Regular contributing writer for FineArtViews.  You should submit an article and share your views as a guest author by clicking here.


A question was posted by artist, Paul Bond (hmmm…I wonder if we’re related?):

“Got a question, I see all kinds of stuff on selling paintings or prints the artist has made . . . put the expense (time) into a painting, then hope, sooner or later, someone wants to buy that painting, or a copy of it. What about the other business model, such as portrait painters or muralists use, how can such an artist get hired to do what the client would like?”

In short, the question raised is how to get the collector to put money down before you create the art instead of afterward. 

Sell --> Create

Vs.

Create --> Sell

 

From my point of view, the larger marketing picture is exactly the same in both models. The most important things you need to do to market yourself and your art are exactly the same regardless of which model you use. All of the advice on marketing existing work is applicable to artists seeking commissions. Because you aren’t really marketing the art, you are marketing yourself.

Market Yourself

This principle is so important.  There have been hundreds of articles on this topic. Go back and read them again. Then do it. Share your story. Communicate with your collectors. Build your fan base.

You Can Control Your Career

As artists, we have greater power and opportunity now to take our career into our own hands. Galleries don’t need to be part of the business model (but can be). Art directors and design agencies don’t need to be part of your strategies (but they can be). Most important, however, is that you take control of marketing yourself. Don’t rely on anyone else to do it for you. You can network and market via social media. You can blog. You can send newsletters. You can send postcards. Build your mailing list and USE IT! You need to take control and market yourself. Court your potential and existing clients. Nurture them.

Let Them Know What You Can Do For Them

If you do seek commissions, let that be a major part of your story in your marketing. Share how you can fulfill the clients’ needs. Let them know how you can create that unique work of art just for them. Use your blog, your newsletter, your website, your twitter posts, etc., to let your collectors know what you can do for them through your commissioned work. 

Do you see a pattern here? It doesn’t really matter whether you sell then create or create and then sell. The important task is to find and nurture your fan base – your collectors.

Also, make sure your website prominently and clearly states that you work by commission. 

Other Considerations

There are things to consider with commissions that aren’t always necessary if you create the work for yourself. These are the business items. You will need to establish a way to communicate with the collector about what they want to commission. Travel may be necessary. Take that into account and price your work accordingly. Contracts may be necessary. Payment schedule and delivery dates need to be addressed. You may need to submit sketches and possible revisions. The list goes on and on.  

For some commissions, such as public art or art for corporate collections, you will need to do a bit more. You will need to submit a proposal tailored specifically to the project.

Conclusion

Since only a portion of my work is commissioned work, I may be missing some important things. But by my experience, I got the commissioned work the same way I have sold any other painting: the clients first became fans of my work. I am able to fulfill a need that they have. For some clients my available works fulfill their needs. For other clients, I fulfill their needs through commissioned works.

Commissions aren’t for every artist. But it can be very rewarding. Either way, take your career into your own hands through your own marketing efforts. If you do a lot of commissions, please share your insights by commenting.

Best Wishes,

Keith Bond



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Related Posts:

Building Art Career Credentials

Selling Artwork on Your Own

Public Art


Topics: art marketing | sell art 

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 42 Comments

Helen Horn Musser
via fineartviews.com
The commissions I have created were first requested by the collector. Usually they have already bought a piece but, this is not always true. They have, however, seen my work either on line or in exhibitions I've participated in. An artist must always be showing their work in one venue or another. If not in galleries then public exhibitions sponsered by art alliances or other artists groups. Someone may want a particular subject painted rather than a piece already created. That is how you capture a commission; but, first they have to see your art and like it.

Charlotte Herczfeld
via fineartviews.com
Thank you, Keith, very good point, marketing is marketing, regardless of making art on speculation or making art on commission.

I don't do so many commissions either, but the one advice I find important to share is: The closer you are to your customer (relative, friend, friend of a friend, etc), the more important the contract is. Crystal clear boundaries, and definite dates on when installments should be paid. Put the business hat on, and they'll take you seriously.

Michael Cardosa
via fineartviews.com
Keith,

Very interesting article. I've toyed with the idea of seeking commissions as I move forward with my art. When I first started painting I thought commissions were exclusively the domain of portrait artists, since then I've discovered that there are many viable "commission" subjects and it is worth some very serious thought.

Michael

Conni Reinecke
via fineartviews.com
I think this is 100 percent correct, in my work I use both the create and sell and the sell and create models. Some clients see existing work I have done and pay up front to commission work, others buy my work and may come back to commission a piece later. Either way I get paid for what I do. I consider my available works a portfolio to build my fans on. If they find a connection to my work then they probably will for life!

June Ellis
via fineartviews.com
I have painted quite a few oil paintings and from these have made sales. Your article is very timely information as I am doing my second commission. The first one went quite well. This one, however, has been commissioned from someone who does not live close by. Your information is important about having agreements written down.
Thank you
June Ellis
Sharon Weaver
via fineartviews.com
From the question, it sounds as if the artists thinks it is easier if you get the commission first but that isn't always true. I know an artists friend who hates getting commissions. He finds it's not easy to figure out what the buyer has in their head and prefers to sell a painting he already has completed. Leaves out the guess work.

Kim
via fineartviews.com
For a time I did a lot of commissioned portraiture, and it did get a bit tricky meeting deadlines for significant holidays such as Christmas, when during one season I had 21 portraits going around the same time, and everyone of course wanted theirs done in time for the holiday. It's not something I really enjoyed, but it was fairly steady income and subsidized the things I did want to do. Word of mouth, or someone seeing something you've done for someone else gets the ball rolling. I will do select commissions now, if I like the project and it's someone I know well. It's a good way to increase one's income, if you get people to pay half down, half upon delivery.
Gina Buzby
via fineartviews.com
Commissions are my "bread and butter" they pay for my art supplies. Yes, they can be tedious - but there is a lesson in each one!

Jeff Yeomans
via fineartviews.com
I agree that the bulk of commissions I've had were a result of people who liked my work first, and see a consistent style they responded to. I encourage a dialogue with any potential client to explain that the piece I create for them will be ideal, the size they desire, the subject they hoped for, and ultimately that they are completely satisfied with their piece or they are under no pressure to purchase it. I've found this approach effective, and have yet to have a commission rejected and I've done quite a few.
Kathryn Clark
via fineartviews.com
I couldn't agree more. Sometimes a painting you've already created fits the bill, and sometimes it just needs to be more personal for the collector. I just finished a commissioned painting, for the Public Radio Station Fund Raiser in Lafayette, IN. The image was used as the Donor Gift in the form of note card reproductions of the painting. The painting needed to be about music (classical, jazz, old time) because that's the focus of the radio station. I did a still life of a fiddle that was made by my husband's great grandfather. It was appreciated by all (reflected local history, culture, and music) and will remain in the permanent public collection of the radio station for the community to see. The radio station owns the original and the copyright to use in future promotional ways. I thought I'd go into detail about this so that other readers connected with public radio and TV might like this idea too for a fund raiser.

paul bond
via fineartviews.com
Kieth, thank you for bringing attention to my topic so quickly! I worked for many years in the advertising art business, which really collapsed a few years ago. I had representatives who brought very lucrative work in, always with a purchase order and frequently with a down payment. ALL work was commissioned, yes it got hectic sometimes. but it was a good living. The reps typically received a commission of 25 to 30 percent. (actually, I did have images I was usually working on to function as samples to attract different kinds of work) So what I wish I could find is another version of that live person storefront, who knows people who would spend money on a portrait or other types of art that I could produce. I have websites that I would equate to the ads placed in creative directories that the reps always insisted we have. Rarely however, did those ads produce work, that came from the personal contact that the rep had with numerous art directors. The ad in the directory seemed to be more something to help the rep quickly refer a client to, prior to dropping off a portfolio. Also, if you were a serious player in that business, you just had to have a couple ads in major directories. Again, that's how I see the website functioning, and I will admit I don't quite have the right mindset for this retail business yet, thank you for the input of everybody involved with this letter, Paul Bond
Delilah
via fineartviews.com
Great topic. I have always had problems with commissions. Doesn't quite match the chair not enough sparkle in the eye on and on. I just don't waste my time anymore.

Joanne Benson
via fineartviews.com
Hi Keith,
You are on the mark! Generally I get commissions from people who have seen my work and like it. I think marketing efforts are similar either way. I'm always more excited when someone wants one of my non commissioned originals though....It means they somehow connected with it.
Christine Winship
via fineartviews.com
Hi Keith,
Thank you for posting this article. I am a watercolor artist who does primarily commissioned pieces. I agree that whether you do commissions or not, the marketing aspect is primarly the same.

Things to remember (some that have already been stated)
I have learned to do the following in order for clients to become collectors:
Discuss all details things with your client, before the piece is started. you are an artist for hire. They are your customer. This is a business deal.
Continue to do work for yourself while business is slow. I take this time to break out of my "box" of thinking by using acrylics instead of watercolors.
As a commissioned artist (who does mostly pet portraits) my clients are everywhere. Not just at art shows, but at the market, dog parks, Kinkos. I'm always talking about my work. I would never know how much that person loves their dog enough to get a portrait had I not started talking to them first. (if they have the pet with them, this is my in!) Of course, sometimes this is pretty forward of me, but that's the kind of person I am.
Like Joanne stated, I do get much more excited if something is sold out of my own portfolio. That it was the actual art that sold and not the image of their beloved pet.


Debra Russell
via fineartviews.com
I'm just interested to know how many commissions fall through because the client doesn't like the finished painting?
I've been asked a few times to paint a landscape for someone of a particular mountain or area. I've only had 2 commissions and have had to sell both paintings later because the client wanted it larger or the foreground was not quite right! I had about given up on commissions until I read this article.

Michael Cardosa
via fineartviews.com
Debra,

Knowing nothing about commissions I'm glad you asked that question because I was wondering the same thing. I'd love to know how many people get some commitment (money) up front from a client before taking on a commission and how many consult the client in the middle of the process to see if their ideas for the work are tracking?

Michael


paul bond
via fineartviews.com
I WAS one of the experts on that! In the advertising business we always showed a pencil layout. Also, lots of times, I would show a work to a client as it was progressing. I would do this with a portrait in progress or right at finish. by shooting a digital photo prior to sending it off, that way there are no surprises. Many times the client eill help you out by spotting something you missed!
Helen Horn Musser
via fineartviews.com
Michael, Good questions. I always get money up front from out of state or if I don't know the buyer. There has never been a problem. Of course, there have been many junk mail people requesting my art but, never got in touch with them. Many of my collectors wanted commissions painted once they saw the art. I do send them pics of my progress on the painting. This keeps them in the loop for seeing what I am putting together for them. There is more pressure when I do a commission simply because, I want it to be perfect for them and want them to like it so I try to get feedback while painting. It is a pleasurable way of painting. Many customers; no one disappointed. Win here

Christine Winship
via fineartviews.com
I take 50 percent up front, email a photo when it's done, recieve the remaining 50 percent and then ship it out. Only twice have I not recieved the remaining 50 percent and both times, they did not get the art work OR the first 50 percent returned. These are my conditions that I state with every client so that they are aware of what the deal is. Again, this is a business transaction and treated as such.
I generally don't send them any info in the process. My thinking is that they've seen my work, they generally know what it's going to end up like AND they are not the artist - you are. You are hired to do YOUR creative interpretation of work. Set the contract. Some people will balk but most look it as "She's a professional" or "She's the Artist".

Carol McIntyre
via fineartviews.com
Keith, I love the simplicity of your model and thanks for sharing it.

I love doing both. Finally I seem to have a balance in my artmaking. For my right brain and the Create->Sell model, I create my abstracts. For my left brain and the Sell->Create model, paint pet portraits. Both are very satisfying.

The key to commissions, for me, is in-depth interviewing. This helps take out the guess work people have been referring to and satisfaction is almost always guaranteed. None of my commissions have ever been returned or rejected....knock on wood.
Karen Winters
via fineartviews.com
I LOVE doing commissions and do a lot of them - I have 8 in the works right now and have never had a bad experience with one.

My best marketing tool is a list of satisfied customers who are happy to vouch for me should a new client want to 'check me out.' There's something so satisfying about painting something for a special occasion or fulfilling someone's hopes and dreams. I use a simple contract for the simple jobs, a more elaborate one for complex jobs that involve travel, etc.
Michael Cardosa
via fineartviews.com
Thanks Helen, have never done it but yours seems to be a sound way to go about it. Money up front makes them real and sending them progress gives everyone some kind of ownership of the results. Much easier to have people like something that way rather than surprise them later on. At least I believe that to be so.

Michael

Helen Horn Musser
via fineartviews.com
I'm sure you would have no problem. Commissions are a very rewarding way of painting. One of my collectors shed tears when she saw it. Tears of Joy.

Helen Horn Musser
via fineartviews.com
That was to Michael forgot to include his name

paul bond
via fineartviews.com
I know there's another issue, maybe even the REAL issue that bothers me about this commissioned work (retail)thing, and it is not to fault the artists, rather the MARKET! Allow me to single out the pet portrait niche, only because it is a very identifiable niche . . . there are lots of people doing them, some of it I don't think so much of, and some so great I look at them and absolutely turn green with envy! They ALL seem to sell for $500, give or take! I would be looking for the kind of money we used to get for a package illustration or print ad we used to do for Zodiac or Iam's, you guys don't even want to hear about those prices, we didn't get wealthy doing the work, but that work really did pay the bills! Does the pet portrait market (for instance)have a level like that? The only place I really see it is in portraits . . .

Paul Bond www.pbondillustration.com www.softandsmokey.com
Christine Winship
via fineartviews.com
Well, I can only speak for myself. I believe, like with a lot of artists pricing out there, the more in demand you are (your work is popular, you've built your "clan", and you're busy all the time) then you can set a pretty high price.
However, (and this is just my observation) a lot of people that order pet portraits aren't necessarily (sp?) great art collectors and this may be the only piece of art in their house. I'm sure there is a high end market out there, but I haven't come across it first hand just yet.
And when you do work for a big company like Iams I would expect you to charge a different price than for Grandma who loves her lhasa. :)


Kim
via fineartviews.com
My husband worked up an 'commission order sheet' for his stained glass commissions, in which all the essentials are spelled out and he can make notes in writing of any special instructions. The sheet includes a cost estimate, which the customer is to understand is only an estimate, and he has a copy of this order sheet for the customer and one to keep for his files. We worked this out after one instance where there was a 'mis-communication' between a customer and my husband about a commission and the price. Some customers do have a way of trying to 'just add a little bit of this' or 'can you maybe change that,' and the commission ends up growing in size and complexity while they try to get away with the original price quote!
Joanne Benson
via fineartviews.com
When it comes to commissions, my experiences have been mostly good but I have had a few clunkers as well.

In one case, one of my bosses wanted a larger sized house portrait, so I did a smaller version and showed it to him, explaining that it was just a rough to get an idea of the large piece and his comment was (about a tree in their front yard)"that branch comes down further". (I knew I was in trouble then....) Well I never got any money up front and the next thing I know, his wife had an accident with their car and he had to pay oodles to repair the Mercedes and had to put off purchasing the commission. He never did buy the painting. I never took a deposit from him (because I knew him). I spent a few hours on the rough painting.....not to mention time photographing and selecting a photograph...etc....lesson learned...get a non refundable deposit....(unless it is your mother...LOL)....

Next story.....A friend and previous client of mine commissioned a wedding gift for one of her friends. She had me deal directly with the bride-to-be, which I did. (The groom would be surprised at the wedding) The woman was extremely picky but I managed to satisfy her and she was happy with the painting. Then we spent an hour picking out matting and possible frames. I didn't have anything that she wanted so I looked online and found something that she liked. I emailed her a detailed account of the frame, glazing, matting etc. She agreed to it. I spent more money on a frame than usual but I wanted her to be happy. When the frame kit came in (one week before the wedding)it was lovely but it wasn't real wood (which both she and I thought it was). I consulted with the friend who ordered the commission on what to do. She told me to go ahead and use the frame and that if the bride didn't like it she could have it redone on her own. So I did as instructed. My client picked it up, paid for it and loved it. A few days after the wedding I got an email from the bride stating that she was dissappointed in the framing and wanted to be reimbursed by me so that she could buy something she liked and that I shouldn't mention it to my friend (client) because she didn't want to cause hard feelings....Needless to say I saw red.....but after I cooled down and thought about it from a business perspective, I offered to purchase the frame and glazing from her. I did not buy back the matting or give her the money I paid for shipping. (I had saved the original email with the frame selection, etc and replied with that to show her that she was aware of what she was getting) Her husband dropped off the painting for me to take apart and picked it up a week later with a check from me for the frame. She didn't have the nerve to show her face and to this day I have not said a word to my client about her behavior.....(that was the hardest part for me)...I also told the bride that I would appreciate her speaking well of me to her friends since I had accomodated her. And of course she agreed because she did like the painting.....It was worth it to me to negotiate about the frame to keep her good will and my good reputation....

So there you have my two commission horror stories. The rest have been wonderful, satisfying, pleasurable experiences.
Debra Russell
via fineartviews.com
Thanks for all the great ideas and comments...it helps alot to hear what works best for those of you that have done this alot. When you are quoting prices, do you price them the same as your Create->Sell paintings? Or do you charge more to do a commission?

Karen Winters
via fineartviews.com
Debra,

I charge about 25-30 percent more, which I explain is for the extra consultation time and/or travel to take photos to paint from if that's the request. My clients have not had a problem with this since it just makes common sense that when you're painting for someone else it takes more time than painting for oneself.
Debra Russell
via fineartviews.com
Thanks Karen....I was thinking I should charge more but wasn't quite sure what the going rate was. 25-30 percent seems very fair.

Karen Winters
via fineartviews.com
Debra, I haven't checked around to see what the going rate is but it sounded fair to me - not too much of a stretch for the client. I am pretty well organized on commissions so I've been fortunate not to have a lot of back-and-forth experiences that eat up time. If I got a string of projects that went way over my budgeted time, I might have to reexamine that policy.
Helen Horn Musser
via fineartviews.com
Debra, I think one of the most important things you can do for your collectors is be consistent. I price by the square inch whether it is a commission or another creation from me; Collectors usually have pics of what they want painted so you will not have to take pics. That is the way it has been with me on most of my commissions. One buyer wanted a companion piece to go with a pansy painting she had already bought. I had lots of pansy pics from my back yard. No problem

paul bond
via fineartviews.com
I have not had occasion to use this yet, it was only recently recommended to me, it is an online escrow service called http://safefunds.com/. I know of a portrait painter's website that say's they have an escrow service, maybe this company has something to offer . . . to Joanne, the last time I sent off a portrait, I sent it off with a simple matte, the client went to work with the framer and emailed me several photos showing his 3 or 4 choices, then we had a discussion and kind of worked together to narrow down the final choice. Otherwise, I have sent things away in one of those simple put-together metal frames with suggestions on how they might frame it right.
Karen Winters
via fineartviews.com
Debra,
Regarding your previous Q about how many paintings have fallen through because the client didn't like something. I have not had one fall out so far but I think that is because I show them examples of my work that is similar to what they are asking for ... and I use digital tools to give them a good idea of how the painting will look if I am painting from a reference photo. No surprises = happy clients.
Debra Russell
via fineartviews.com
Another great idea, Karen. I can see how a Digital proof would really help! I was thinking I would just do a quick oil sketch to show them, but this would be simpler. These cliets approached me at an event last fall to commission a work and are now finally committing! This discussion is very timely.

Joanne Benson
via fineartviews.com
Hi Paul,
Newest policy...no framing.

However for that particular incident I was being paid for a framed painting with the anticipation of the frame costing a certain amount....I really didn't have many options because the bride was not my client....sticky situation....but I'll know for next time.....
Karen Winters
via fineartviews.com
Debra,
For example I might crop my reference photo in Photoshop to the proportion of the finished painting. I may even add trees, move foreground elements, etc. or change the hue to give them the idea of the finished work. Then we are both "on the same page" and they don't have to imagine what I have in mind. I've found this system works very well. It does help a lot that I'm very comfortable with Photoshop - I've been using it for 20 yrs.
Karen Winters
via fineartviews.com
Joann,
That's what I do, too, almost all of my commissions are sold unframed. If they are local, I will offer them a choice of frames, sold separately. If the commission is long-distance, 9 times out of 10 they want to work with a local framer since they know their decor preferences.
Michael Cardosa
via fineartviews.com
hi Karen,

Just curious, what kind of tools are you using to do the digital mock up of the painting?

Michael

Michael Cardosa
via fineartviews.com
Oops! Sorry Karen, I see you answered this in a later post. Maybe I should read all these comments before asking questions.

Michael

Debra Russell
via fineartviews.com
Karen...sounds like I better take another photoshop class! I could do almost everything you suggested...but not sure how to move a tree! I'm finding in order to be a successful artist, you have to be able to do more than just paint!










 

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