How did you get your start as a pro?

[Lon Haverly]

I for one started drawing portraits in Eugene, Oregon down at a little Saturday Market in 1972 for some extra money. I only charged $3 for my little pencil drawings, but I was busy all day long and made as much money in a day as I had made in a week at my construction job.

After a couple of Saturdays of that, I took my earnings and my wife on a trip to California to visit some of her relatives in Sacramento. There happened to be a huge new mall a mile away. I thought it would be grand to draw there a couple of days to offset my expenses. I went in to the offices armed with a drawing pad, and drew a portrait of the promotions director. He said I could draw there for $25 a day rent (alot of money for me then - a whole days wage!) So I did. I worked in life size charcoals on quality charcoal paper, and I was swamped! When I was finished, they asked me to stick around and draw. I sheepishly said that I had a job I had to get back to in Eugene. (Hah! What a fool!) I went home, and relayed the offer to my wife, and she sent me trotting back there to accept, urging me to quit the job in Eugene. Thank God for wives! I drew there for two months at that rent. Then they cancelled my rent and let me work there for free for two years! I henceforth drew portraits in charcoals every day for twelve years!

[Stanka Kordic]

Hi Lon,

Your background and work itself reminds me to ask you something..Have you ever considered courtroom sketching? You seem to be a natural. I used to do it for several years. It's very intense, interesting, but a little too deadline oriented for my life now. There's not much call for it, however, but it is worth the occasional freelance gig if you can swing the flexibility. I think you'd be really good at it since you're comfortable working from life.

[Lon Haverly]

I have drawn for ABC, CBS, CNN, and ESPN. My first case was Diane Downs 16 years ago. I drew for the Casey Martin trial here in Eugene for ESPN, and had the work published in Golf Magazine. When things get really nasty, like the Kip Kinkel shooting at Thurston High School, they call me.

Courtroom drawing is the ultimate challenge in drawing. You have such little time to draw the whole crowded room of people.

How about you, Stanka?

[Stanka Kordic]

Wow Lon! See I knew you were good at it

My experience has only been local TV. I did it on and off for about 10 years. The most notable trials were Jackie Presser, mob boss, and John Demjanjuk. I even got yelled at for scribbling too loudly by the judge. He later bought the drawing, so I guess he liked it!

[Lon Haverly]

Yes, I have been griped at by the judge, too!

It used to be kinda tough working for the locals jockeying for seating, because they all hired their own artists. Most of them were pretty bad, and soon the locals just hired me and split the costs.

The networks are great to work for. My first was CNN. They asked me how much, so I doubled my daily rate for locals - to $300. She said that was not acceptable - I would have to charge at least $500 a day for them to look at me.

Once ESPN called me. I thought they were selling magazines and hung up on them. They called me back and said it was ESPN News Network, and they wanted me to draw for the Casey Martin trial. That was quite an amazing news deal. I wound up working for four networks simulteneously!

It is a nasty way to draw - the work looks terrible - but when it is on TV, with all the close up camera effects, it looks better.

[Chris Saper]

Lon, I can absolutely see why your courtroom drawings have been in high demand!

When my first child turned one (1990) I looked back on thirteen very rewarding and stimulating years as an executive in the health care industry, and also the constant stress, (many times) unreasonable demands, and (sometimes) astonishing behavior, and decided that I was ready to change careers. So I built a business plan to begin developing a portrait practice, as I reduced the number of hours I was working at the hospital, with the idea that eventually there would be an activity and financial crossover. It started pretty simply: what did I need to earn to replace my income and continue to participate in family financial support; what volume did I have to be able to produce; what could I reasonably expect to produce, and what could the market support in the way of pricing. I painted part time for the next five years, and then went to full time, when I turned forty-three.

My earnings still do not equal that prior career's...but I am so much happier, I have lost my cynicism (ha, you say), and have loved the slow and amazing process of reorienting one's world view to that of a painter. This past sounds pretty cut-and-dried, I guess, but I was never able to get into a position to risk otherwise. There is just no point hanging on to coulda, woulda, shoulda. I have clarity about my priorities, and painting is number two. I am grateful for the chance to work, try my best to become a better painter, and look forward to every lucky day at the easel.

Chris

[Stanka Kordic]

My earnings still do not equal that prior career's...but I am so much happier, I have lost my cynicism (ha, you say), and have loved the slow and amazing process of reorienting one's world view to that of a painter.

Chris,

The sum total of finding your passion! I have so much admiration for you to quit a lucrative job to pursue this.

My pat answer to people who are curious about my career choice is "well, I wasn't good at anything else!" I was headed towards a 'reliable' career in the business world, much to my chagrin because I hated it. (this was on the suggestion of my family) Until, that is, I was told I had talent by some very astute teachers and friends.

Started painting in oil at 15, first commission at 18. My major in art school became illustration, but I painted all the projects. I had wonderful teachers who encouraged me early to pursue portraiture, but I needed to try all these other things before I focused there. Starting a family was the impetous I needed to narrow my scope, and truly come full circle. (As a small child, I always kept a sketchbook of people..) I've never looked back.

[Joseph Brzycki]

Lon, I really like your idea of drawing portraits in the mall. It sounds really interesting and I thought I would like to give it a try. You have had so much experience in it, so I was wondering if you have any hints or tips about going to promotions director or about drawing mall portraits in general? Thanks.

[Lon Haverly]

Joseph, just be bold and brave. Make an appointment with the promotions director, tell him what you want to do, show him your work have a display idea ready. I created a plan on my computer showing my display design. I built mine out of 3/4" copper tubing and 15oz banner cloth. It is very durable, stays clean and looks good. If he will let you, go ahead and draw him right there. I did. Have a financial proposal. I pitched 15% flat rate, and justified it by saying that they pay people to entertain, such as piano players, groups, etc. Why not give me a break which will entertain the people, and also allow me, a [then] young and aspiring artist, to practice my profession in the only feasible location where I would be likely to succeed. I settled for $250 base rent against a 15% rate. No base in January and Feb, $400 base in October, $500 base in November and $1000 base in December. I can make about $20,000 at the holidays. Other months, anywhere from $300 to $1000 a weekend. I now only work weekends, and have a static display the rest of the week. It may not be the most lucrative way to do portraits, but I can truly say that I really enjoy it.

I use some inventive techniques. I offer a free demonstration pose. If I am a tiny bit agressive, and politely ask folks as they catch my eye, if they would like to pose for a free demonstration, I am busier. I even post a sign for it. There is no obligation to buy. I try to get them to sit for a pastel, 20 minutes. I sell most of them! I tell them that they don't have to buy it even if they like it. If I demonstrate in pencil, I make less money that day. I figure, if I am drawing, I am making money. If I am sitting there twiddling my thumbs, I am losing money. I also display an oil painting on an easel.

This may seem to some to be a cheesy way to do it. I have found it to be fun and profitable.

[Leopoldo Benavidez]

Amazing story you have there Lon! Congradulations with running with your determination and passion. I have you on the calendar and when I am down your way I am going to check out the mall. Again fantastic story!..L