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Judson Eneas 06-19-2006 09:00 PM

Street Artist
 
How do you market yourself as a street artist? I am talking about drawing customers with your little set up easel for $15.00 a pop for fifteen minutes each. Where would be a good place to start such a business?

Linda Brandon 06-19-2006 10:19 PM

Judson, I admire your tenacity. I'm delighted that you're thinking of doing this life sketch work. Before you think about doing this, though, I really recommend that you can draw three apples in a bowl in a convincing manner in 15 minutes. (Not terribly easy to do.) Go ahead and post it on this thread and I can coach you from there. :)

Judson Eneas 06-20-2006 12:21 AM

Portrait Street Artist
 
Quote:

Originally Posted by Linda Brandon
Judson, I admire your tenacity. I'm delighted that you're thinking of doing this life sketch work. Before you think about doing this, though, I really recommend that you can draw three apples in a bowl in a convincing manner in 15 minutes. (Not terribly easy to do.) Go ahead and post it on this thread and I can coach you from there. :)

What I am talking about is a simple head portrait without extravagant detail. To draw a bowl of three apples would understandably take hours.

Dianne Gardner 06-20-2006 02:02 AM

Judson,
Do you have practice doing this? I assume you do because you say you are ready to market yourself. If so, I suggest either getting a space at a festival or any public market and just start doing it. I spend a good portion of my summer doing this same thing, only I take 30 minutes and do 8 X 10 character sketches in oil. They are very popular, it is a very lucrative business and often I am commissioned to do a more formal portrait in the process.

All you have to do is just set up and start painting and have patience. Eventually word will get around.
I know someone who paints children's faces at the library for free. That too is a way to get known. If you have some portraits on display while you are doing your quick sketches, than that helps all the more.

Good luck on this endeavor. Its tons of fun!

Dianne

Mike McCarty 06-20-2006 08:24 PM

Quote:

To draw a bowl of three apples would understandably take hours.
Judson:

You can paint apples in a bowl in 30 seconds, or 30 days. I think Linda's generous offer would be very informative to your endeavor. I believe that Linda has done this sort of public drawing in the past. I'd listen up.

However, if you choose to pass, maybe Linda would lend her expertise to some other Pilgrim who recognizes the opportunity.

Judson Eneas 06-20-2006 09:41 PM

I am greatful for her advice.

Dianne Gardner 06-20-2006 09:44 PM

Quote:

However, if you choose to pass, maybe Linda would lend her expertise to some other Pilgrim who recognizes the opportunity.
I certainly would and will when I have a spare 15 minutes if that offer is open to some other Pilgrim!

Dianne

Chris Saper 06-20-2006 11:14 PM

Hi I've moved this topic into the business/marketing area.

Linda Brandon 06-20-2006 11:53 PM

Diane, I would love to see some photos of what you're doing... what are you calling "character sketches"? (The "very lucrative" part of your sentence jolted me from my stupor tonight. :) ) What is your set up - do you use lights? How do you manage the wet canvas handoff to the client? Do they have the right to refuse the painting?

Judson, for arguments sake, let's go for one apple on a plate. I want you to be able to determine if the materials you plan to use can get you to a reasonable sketch in a short time period.

Fifteen minutes... Tickticktickticktick....

Michele Rushworth 06-20-2006 11:54 PM

Judson, wherever you set up be sure you don't need a special permit. In many areas artists are not allowed to set up on the street or in a park and charge for their work without written permission from the city or the parks department.

Linda Brandon 06-21-2006 12:03 AM

Michele is right, of course. Also be sure to check into loitering, trespassing, solicitation and vagrancy laws which could interfere with your plans even if you were planning to give sketches away.

Dianne Gardner 06-21-2006 02:07 AM

1 Attachment(s)
Linda,
This is the only photo of any of the sketches I have done and this one was actually a 45 minute sitting. I do have some photos of the painting commissions I got as a result of them. I set up at the Renaissance Faire here every August and it is so fast pace that I do not think about taking photos of the finished work. Once I get started I am doing a painting every half hour for the entire day. I hire a helper. I charge a very minumal fee-$25 and have not had one person dissatisfied with their sketch. If they didn't like it they would either get their money returned to them or else I would take a photo of them and do the portrait at home. All my work is guaranteed. Most people come to the Faire for the entire weekend so the paintings have time to set up (I use a copal medium or liquin) and then pick them up when they are ready to go home. I have sent the paintings to their owners after the Faire too for those that didn't want to transport them wet. They are thrilled with the idea of posing for a portrait-a very 'Renaissance Period' thing to do. We have a lot of fun with it. The children want me to dress them in fairy costumes or give them a sword and shield.

This weekend I am going to an art festival and may do portraits (or not) although I have to admit I am much more comfortable at the Faire when everyone is in costume.

Sorry about the rash term 'lucrative'. I don't think of it as just a money making opportunity so shouldn't have made it sound like that. I love doing it. I have met so many wonderful people and the challenge is stimulating to say the least. I am looking forward to this opportunity again in August. The Faire runs for three weekends.

I do not use lights. There is no electricity at the Faire. Just the sunlight. I might have to move things around during the course of the day. I'm very spontanious and flexible.

Thanks for asking.
Dianne
This sketch was not done at the Faire, that's why I have a photo. This was a son of a 'pirate' family that was advertising for the Faire at an Art in the Park event a couple of weeks before. It was done outside and I just changed the background. But it gives you an idea of what I do.

Julie Deane 06-21-2006 08:07 AM

HI Judson -

When I was in college, I worked at Busch Gardens for two summers doing just this sort of thing. It was great practice and a good confidence builder. We did profiles in pastel with a very limited palette and a pretty canned approach. It took 15-20 minutes to do. Possibly other theme parks would be willing to allow an artist to do this as well, for a fee.

In the mountains near my home, there was a gallery advertising for a street artist, I guess to add "atmosphere" for the summer visitors to the area. Someone drawing from life is quite a draw for a business, because folks gather to see what the artist is doing.

Fairs are a way to go too. For example, three years ago, I got in practice by doing profiles in my school where I work at $10 a pop (took 10-15 minutes, charcoal). I started out by doing them at our school's fall festival.

Good luck with your endeavors!

Linda Brandon 06-22-2006 12:39 AM

Dianne and Julie, these are wonderful stories. I don't quite know what it is about seeing an outdoor artist at work that makes me so happy, but there is a "bring the art to the people" aspect to it that cheers me up (unless the artists are aggressive hustlers and won't leave you alone). I think that having a succession of different faces, ages, races and gender is good practice for "serious" portrait work for so many reasons. If an artist were to do this during the day and then go home and do some long, carefully observed still life practice - think how fast our draftsmanship could progress. Getting out there also takes some courage because it is hard work, there can be hecklers and you don't always get a 100% success rate.

Dianne, I think your idea about working with costuming is a lot of fun. I watched a "Paint Out" a couple of months ago where a group of artists painted volunteer teenaged girls in antique dresses, leaning on trees and sitting on grass in one of our parks down here. More art groups should consider doing this (I can't remember how the paintings were sold, though). I'm impressed that you were able to get oil commissions from your setup, good for you!

If you don't want to charge but just want some practice drawing faces, by the way, I would consider going to a local nursing home. Old people are very rewarding for so many reasons. It is heartbreaking to be told, as I was more than once by sitters, that nobody has really looked at them at all for twenty or thirty years.

Dianne Gardner 06-22-2006 01:54 AM

Quote:

Originally Posted by Linda Brandon

Dianne, I think your idea about working with costuming is a lot of fun. ..
If you don't want to charge but just want some practice drawing faces, by the way, I would consider going to a local nursing home. Old people are very rewarding for so many reasons. It is heartbreaking to be told, as I was more than once by sitters, that nobody has really looked at them at all for twenty or thirty years.

I think my passion for people in costume stems way back into my childhood. I hated modern clothes and always wished I could be dressed in long dresses and hoop skirts. The modeling with the teens in antique dresses sounds fabulous. I bet they all had a wonderful time. Someone has started a plein air paint group like that here and unfortunately I'm going to miss the first one but plan to attend all the others after that!

Your idea at the nursing home sounds wonderful. I may start something like that this fall when I'm not so busy. Perhaps I can find a couple of artists friends to do it with me.

Thanks for your encouragement and great ideas, Linda!

Dianne

Debra Jones 06-22-2006 11:42 AM

I think there is a need to be showman and salesman when out in public. I had a couple of weekends in the early '70's trying to fulfill that fantasy I had as a kid of being a street artist at Disneyland, but I lived in Denver instead. I set up an easel and I think I was doing color and charcoal and all I know was that I managed $65 one day... remember the time and the economics... and I was thrilled! Going out to celebrate with my boyfriend, I came home and my money, which was sitting on my dresser, was missing. I couldn't prove it, but it was obvious the landlord's son sneaked up and lifted it.

I was so happy with the cash, but can only remember not going back. I think I was sitting with a friend who had a vendor booth at an event.

There is also the double purpose here of practice and income. It is a little harder than it seems to nab subjects off the street to paint them. It pays to bring your own. I have been doing my doggie demos for a couple of years and there is usually a silent crowd behind me that I miss while working.

Linda has mentioned that the general public may be more excited by watching us draw from life but I kind of get the feeling that a general public is more impressed when they can "see" something they want in the experience. I bring photos, usually nice little 3x4 size to clip on the board with me. The scale-up does impress them and they can visualize their photo of a family member or pet they want done. The conversation is definitely based on whether they WANT to pose or have me work from a photo. In general they are more excited by having me take a photo or give me one they love.

I also am perplexed by the pricing. There is such a market for caricature that a realistic rendering is never what I am asked to do. Friends are always trying to get me to come over for kids parties etc. I can only imagine how frustrated we all would be with me trying to get little ones to hold still and then NOT having the speed or cuteness. 2 hour party and four kids drawn... not a good thing.....

Michele Rushworth 06-22-2006 12:11 PM

Debra wrote:
Quote:

There is such a market for caricature that a realistic rendering is never what I am asked to do.
When I did realistic color pastel portraits outdoors during my college years the guys who did the caricatures made the most money.

I did it at a summer festival for two years and worked for a company who paid the festival organizers a portion of what we earned. Our "boss" had 30 pastel artists and probably as many caricaturists set up all over the festival grounds.

I did make a pile of money, though ten portraits in ten hours got to be tiring. Though the slow days were even more tiring!

Dianne Gardner 06-26-2006 03:24 PM

2 Attachment(s)
Here is one that I did this weekend at an arts festival. I was really happy with my clients response. After all the hard work posing for it...he was tapping his fingers but he sat still otherwise...when I showed it to him he said very emphatically, "Awesome!". So that makes me happy! He's giving it to his mom for her birthday.

This was done in exactly 30 minutes. I could have fussed another 15 to make it a bit more like him but I'm trying to stay in my time limit. Besides, he was getting really tired of sitting.

It was fun.
Dianne

Debra Jones 06-26-2006 03:41 PM

Dianne, the question is, was it profitable?

I know it is good exercise and the idea of taking what you get is a great way to get out and stretch, but in a sense, does it dilute your marketability because you are not doing your VERY BEST. It is also, as you say, a lot of work for the model.

I think the street art expectation is to be part of the performance "model for a day" and brag it off at home. But as a high end portrait artist, seeking serious commissions, is the income, say $40 an hour at the LEAST for $20 a 30 minute portrait if you get booked. To make it economical you have to have a style or gimmick. Something to get them to sit there and line up to be next.

Were you selling finished art along side these demos?

I am struggling to get the paycheck coming in from this. I am nearly out of clients in the day job and seriously pursuing angles to get a predictable flow. I have done demos for NO pay, which I think is in a sense a better plan, just as teasers to get people interested.

This is a marketing and PR room. I am serious, what you all think as far as the longer term benefit of street art.

(I had my socks knocked off five years ago by a street artist in New York. The charcoal work was amazing! His skill was fun to watch. It was a good half hour or more of work and I never asked what he charged. BUT the likeness was crummy. A very convincingly real and sharp piece unless you knew the sitter... is that a career or an advertisement?)

Michele Rushworth 06-26-2006 03:54 PM

Quote:

BUT the likeness was crummy. A very convincingly real and sharp piece unless you knew the sitter... is that a career or an advertisement?)
Neither. If there's no likeness there's not much hope for business success as a portrait artist. Everything else comes in a distant second.

Debra Jones 06-26-2006 07:30 PM

Exactly my point.
The job of doing street art may just end there.
As a stepping stone, it needs a much higher standard. As an education, it is great, but it is hard to take money for less than your best. I have had suggestions to work on demos from life, and that sounds good but I want MY model. If I hang a shingle that has a price and a product, I need to be able to PRODUCE at the level and speed expected.

Lonny has done that and very successfully. I wonder what his input is here?

How fast do you work? What is your standard? How do you charge? AND do you work from life or photos?

I AM using art as entertainment, not marketing, and I am coming to the realization it must knit into a clear plan. I have the energy of a humming bird but I do need to keep feeding the landlord!

This is a very relevant thread for me right now, thanks for the conversation.

Dianne Gardner 06-26-2006 09:02 PM

Quote:

Dianne, the question is, was it profitable?
Debra, I have to tell you I am just entering this business myself. In fact, I know you are well more advanced into the portrait business than I am. If I painted as well as you I probably would not be doing them.

This particular painting was profitable ($35 for 1/2 hour) however the festival I did it at was not. I was told it was an 'art' festival and instead it was a 'arts and crafts' festival. I don't like selling my work next to craftsman mostly because viewers fail to see the fine art aspect of it. That's why I decided to start doing quick sketch portraits the second day of the festival. Because my paintings were not selling and quick skethes are more of a craft than fine art. My paintings were way higher priced than what the public was willing to spend at this event. I won't be doing that festival again.

The Renaissance Faire is profitable for me now. I work hard with these little less than the best portraits but I show my good stuff alongside as well as my portfolio. Last year I was commissioned three larger portraits and some smaller ones. The difference with the Faire as opposed to the festival is that the people that come are different. They are all artists, whether they are in theatrics or performing arts or costume art or just have a love for the arts . They love to be surrounded by beautiful things. So they will spend money on good art. The quick sketches were appreciated as a token of the Faire, bringing some of the romance home with them.

I am certain that the time will come when I feel this kind of activity is lessening my reputation as an artist. However, I am not there yet. I have not apprenticed under any famous name nor do I have any degrees in art. I am working my way up the ladder slowly and its mostly by trial and error. I sold my first four digit painting in March and I was estatic. If that becomes a standard for me than quick sketches will become something only for family and open studio because I will be able to afford not to do them.

For now, I have many more quick sketches to do before I even come close enough to being good enough.

I feel the same about pet portraits too- That someday I won't have to accept them. I don't think they do my reputation well. But for now they are bread and butter.

Dianne

Debra Jones 06-26-2006 09:30 PM

Here is the rub.

I am avoiding fairs. I am not that marketable. I actually am working on specialty situations (the dreaded dog shows) but think that a generic portrait may be a bit more IMPULSE purchase than generic humans. I have yet to see how the exhibitor, unless they have a really smooth slick product can pay off the entry fee. My portraits are not up to product level. The kids that do well in most art fairs are crafters and print makers.... or that is how I hear it.

Making money at these events is what we are here for. I had Ren friends years ago and they have a season commitment. Is that what you do? Or is it a weekend festival. Here again. The income will be from face painting, not painting faces.

I know of many artists who did get established and their careers started in the outdoors, but I have not heard of the portrait artists, unless as I said, they were slick crisp "Disney Souvenir" quality.

The next question I have, Dianne, is how many brochures did you get handed out and names on your mailing list? That seems to be the BEST reason for sitting among the candy apple-ed kids buying pot holders!!! There are short and long term profits.

Dianne Gardner 06-27-2006 03:19 AM

Dj*

The Faire I do is seasonal, most of them are. I could do many more than the one I do, which by the way is three weekends in August with a visitor take of 55,000. But my attention is divided as I also am a plein air landscape painter and am doing events with Plein Air Washington Association.

I like the way it is evolving. The people of Ren Faire know me and I'm their 'artist'. I have had the great opportunity of painting portraits of celebrities such as Bruce Hopkins of Lord of the Rings, and the grandson of J. R Tolkein both of whom I met at Ring Con-an event this Ren group held a couple of years ago. My business cards have traveled as far as Wales and New Zealand and I have gotten some commissions from it over there as well, although shipping is so costly to over seas it isn't something I pursued with much diligence. I also painted the portrait of the owner of the Washington State Renaissance Faire and things have been progressing ever since. I've made a lot of friends and have had the opportunity to paint a lot of paintings for them. I think that if you choose to go with a dog show pick one and get to know the people. They'll adopt you and your clients will seek you out.

I don't ever think I will paint portraits of famous politicians, but when I think of it I probably don't want to. I am in my realm of theatrics and I love it. My paintings are invited to the local theater here and I make contacts through there. In fact, the owner of the theater likes my work so much I get to choose which play I display my paintings at next year for a 6 week display.

I find that the relationships I establish at any event I go to are what determines the popularity of my artwork. Be friendly, smile, be interested in those who sit for you. Talk to them. Then they will remember you. If they like you they will tell others about you and your work.

By the way, my interest in the costumed figure is expanding and next year I have been invited to a Civil War Re-enactment and will be camping for a week and painting faces (and costumes) there. Its going to be a blast. And I know I will get commissions and sales just as I do at Faire.

Through the Faire, I was invited to do the Northwest Celtic Association's fairs and have done several portraits of the dancers. There are folks from the Scotish Highland Games that have asked me to attend their event too but I don't think I qualify (I think they want only Scottish made items). I may pursue that next year if I'm asked again.

The more people I meet and get to know the more paintings I sell. Not that I get to know people to sell paintings. I love meeting people. The selling is just the by product.

Your portraits are beautiful by the way. I love the one you did of your father. I am also familiar with the area that you live and think that you could very easily paint the Navajo amd Hopi with such sensitivity that your work would fly and you wouldn't be able to keep up with it. That's just mho.

Best regards.
Dianne

Lon Haverly 08-19-2006 05:26 PM

A better term
 
I have been a "street artist" for 33 years. However, I don't like the term. Even though I have always paid rent for my space, I am called a "street artist," as if I were a vagabond or a pan handler of art.

I started at the Saturday Market for a few weekends to get the feel. Then I went on a vacation to Sacramento, and asked a local mall if I could draw there a few days. There were no leases for kiosks then, so we had to improvise an agreement. After a couple of months, they canceled my rent and let me draw for free. There two years. I did well, and I was earning more than I did as a laborer doing what I love. I find drawing from life much more pleasant and energizing then painting. Painting is work. Drawing is fun. I can draw all day and not be tired. I can only paint a few hours and I am spent.
I was very professional, had a very nice setup with very nice signage. Then I set up at a Public Market in Eugene. Five years. Then a mall. 23 years. Now at another mall - 2 years. I now have an in-line store with a full service frame shop and art gallery where I display my oils and watercolors.

I feel that drawing is my best work. In my community, you would be hard pressed to find anyone who would pay for a high end oil portrait, even if they could afford it. Trying to be a high priced painter is a bit of a long shot for most artists. But you can make a living at drawing and still enjoy using your talents.

I do not do caricatures. I can charge more for portraits.

It does work better if you are in a tourist city. However, in cities where there are tourists, you will find that your costs are much higher, and your style of living cramped by traffic and costs. So, I am contented to draw and paint here in Eugene-Springfield area of Oregon.


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