How to get the in-come coming?

[Joan Breckwoldt]

Linda,

I like your notebook idea. I tend to use spiral notebooks for everything, but I'm limited because I can't rearrange. The binder is a great idea because I could move things around, or mainly add. I did recently buy a 3 ring binder and I have it divided into sections, mostly they're regarding techniques, framing, etc. And so far the sections are almost 100% full of pages from this forum that I've printed out.

Melanie,

It sounds like you need to let people know you're there and a portrait artist! I've always had the idea (when I get good enough) to put up a portrait in the local little cafe frequented by moms, or in the local hair salon for kids. (It's walls are currently full of photographs and they're the same photographs that have been there for 10 years!)

There are a lot of posts about marketing ideas on this forum, I'm sure you've read them since you're searching for marketing ideas. Good luck! Let us know how your marketing strategies go.

Joan

[Stanka Kordic]

Hello Melanie,

Your work is stunning.

My suggestion (to add to all the great ones others have mentioned) is to perhaps steer away from the idea that children are cute. For me, I find them exceedingly more interesting than MOST adults because they are honest, they are wise, and much more authentic than adults give them credit for. I try to see them without the filter that parents like to color them with.

The flip side is that you won't appeal to MOST people this way. You will fit in a different kind of market that will present itself to you in time. Parents like to think of their children as adorable (and they are) instead of deep(which can come across as sad). But, I have found that sticking to my guns has brought me clients that believe in what I do, and do not second guess my vision. I'm so grateful for that!

What worked for me was the website, and charity auctions. Shows, awards did nothing and just stressed me out so now I avoid them at all costs.

Just my humble opinion. Best of luck

Regards,
Stanka

[Melanie Peter]

Hi Stanka
I visited your website the other day and thought WOW, this is about color, light and paint. You're right, children are very deep and you've got that in your paintings. I like your use of the term 'alternative,' and I'm glad to hear you have found clients because it gives me hope. Deep does come across as sad, and I can't count the times I've heard about how sad my portraits are. I can't tell you how many sittlers I've had that insist on smiling (usually forced) or parents who continue to urge their children to smile even though I hand out a essay on "why not a smile?" Nothing wrong with a smile, except that it's most often a posed or forced one, and rarely a 'deep' one from the heart.

I'm not sure about competitions. Probably most are a waste of time/money. The ones that get big publicity are good. I think potential clients lack confidence in their own judgement. They read my resume and feel safer that someone else thinks my work is good. I had a 5-page feature in Pastel Journal last year from winning their Pastel 100 competition. Showing them the magazine seems to help.

I talk as if I have gotten commissions with the resume and magazine. Nope, not yet. I'll be showing in two juried outdoor festivals next month. I'll let you know if the resume or magazine get me any commissions.
_Melanie

[Joan Breckwoldt]

Originally Posted by Melanie Peter

I think potential clients lack confidence in their own judgement.

Melanie,

With this statement, I think you have discovered what your problem may be. This is what I mean: Yes, I agree, most people lack the judgement, the 'artists's eye' or experience, or whatever you want to call it, to know when a portrait is very good. I think most people can tell what they like and all, but I think there is an element of uncertainty and as you put it so well, lack of confidence about choosing art. So, what do they use as a meausure of what is good and what is excellent? When they have no other way of measuring, they'll use price.

There is a pastel portrait artist here in Houston who starts her head and shoulders pastel portraits at . . . . hold on, I'll check her prices . . . . $3,200 for a 16"x20" pastel. That being said, even though I'm quoting you prices from a big metropolitan area, your prices just may be too low to attract the kind of clientele you're looking for. Your work is beautiful, BTW.

hope this helps,
Joan

[Chris Saper]

On a couple of thoughts:

I recently bought a software program after trying it out from www.workingartist.com . It's a software management program for artists. It is mainly geared toward the painter who paints works for galleries, inventory for sale, etc, and I am just now learning to adapt it to commission work. One of the things it does emphasize is the organization and management of contacts and potential clients. You can download a free trial disk to see if it might work for you.

And I do agree with the perceived problem of clients not having confidence in their own judgement - but it's a perception we can change. I absolutely think that one of the most important jobs we have is client education. Several years ago I began developing a Comparative Pricing notebook. Once people can see a context within which to evaluate your work and prices, they are extremely capable of making decisions.

Stanka's ( HI! We've missed you!) point is very significant. Don't show portfolio work if that's not what you want to paint. Show what you do want to paint. I have had students say:"Shouldn't I paint little barefoot girls in white dresses? Isn't that what people want?"

Well, sure, some people do. But the important question is : "Is this what you want to paint? " If so, go for it! If not, keep painting what you want, but keep in the forefront of your mind:

Whatever you paint , paint it well. You can only do your best.

[Melanie Peter]

Originally Posted by Joan Breckwoldt

Melanie,

When they have no other way of measuring, they'll use price.
... your prices just may be too low to attract the kind of clientele you're looking for.

Hi Joan and Chris,
Agh-h-h. I could tear my hair out over pricing. I still have NO official price list. Every now and then I try to come up with a price list. I email it to artist-friends and friends in general to get opinions. They range from not high enough to start out lower and go up as work increases. Years ago I got some advice from old Mr. Sanders who once had owned a drug store in Oklahoma City. He's long gone now but his advice left a mark. He said he had put some ladies compacts on the counter at $1.00 and they had been therer for a year. So on a lark he marked them up to $2.99 and they all sold within a month. He said people believe they get what they pay for.

Although I know this is true, I keep thinking if I can't get commissions for $400 why would doubling or tripling the price get commissions? But according to Mr. Sanders, it's exactly what I should do. My arduous years and years of work, study, training, devotion, should pay at least what I would make as a plumber. I have to keep giving myself this pep-talk again and again.

Chris, a Comparative Pricing notebook is a great idea! Not only for the clients but most importantly for my own perspective. And I'll check out the software. I tend to do better with physical notebooks, paper and ink. But the software might help me track better. I can print out the pages and put them in the notebook.

_Melanie

P.S. Another of my serious (sad?) portraits. A free-bee, but mayber there are people who would commission one like it.

[Melanie Peter]

Hi Chris,
Well, darn. I'm up against Mac discrimination again. Working Artist software is only for PCs. They should realize that lots of artists are loyal Mac users from having to work in advertising jobs. They'd make more money if they had a Mac version.
_Melanie

[Michele Rushworth]

This painting is absolutely gorgeous. If you're offering these at $400 that's exactly why you're not getting commissions. Offer them at $2,000 (at least) and do some serious marketing to the right audience in the nearest city with some wealth. Let us know in six months how long your backlog is. I'm really not joking. This is what you need to do.

[Stanka Kordic]

Melanie, Melanie, Yes, raise those prices!!! Your years of experience alone warrants this, not to mention the quality of your work.

Holy smokes, I can on and on about that darned "sad" issue. Do people think we only have 2 emotions?? I actually have to have a debriefing session with potential clients to let them know my thoughts on this matter. If they don't understand how NOT smiling DOES NOT mean they are depressed, well...I'm not your gal. Of course, this comes after doing several happy portraits with no soul. Like you said, the person has to be naturally as they are, not forced.

Chris made a great point about NOT catering to what we painters are 'supposed' to paint . Do what you feel strongly about and the clients will eventually come. It took me a long time to have a steady flow of work. Frankly, it doesn't necessarily come locally. A website would do wonders for you to extend your reach, advertise your many accomplishments and most importantly, to connect to the right type of clients.

Chris, What have I been doing? Practicing yoga in between writing a treatise on "To Smile or Not to Smile. That is the Question" Nothing like a button pusher question to get me back here in a fury

Melanie, Thanks for your kind words about the work. Don't give up!!

[Sharon Knettell]

Melanie,

I am probably not the one that should be replying here, but I really admire your work. It is so sensitive, human and honest.

It is, as I know, really difficult to survive doing figurative work these days.The only option that pops up, it seems is portraiture. Perhaps it is my personality, but I could not get beyond allowing the client control over my work. I did NOT care if the client liked my picture, I had to like it. I did and occasionally still do get a decent buck for a portrait, but the final straw came during a commission but a very prominent and wealthy Newport couple. They swore up and down that they would sit, that I had complete control over the portrait, that they would stay out of it decision wise.

After, I had spent a fair amount of money and time on the project, the client told me he wanted to pick the pictures I would paint from and that there would be no sittings. I had to finish the paintings, but I had ceased to care about them. They were professional, that's it. Ironically, since the gentleman was wearing a tuxedo, the pose he picked, made him look just like a waiter.

I do not like smiling portraits as well, whether they are children or adults and won't do them.

Promoting yourself as a portrait painter can be time consuming and as you found out very expensive. I don't know about your area, but the portrait market can be quite saturated. The portrait painters I know here in the Northeast are complaining of lack of commissions, no backlogs, some of whom are very good and well known.

I have concentrated on my own work and though the finances can be dicey, I am expressing my own point of view. My work has started to be noticed and it is some pretty flossy homes and I don't sell it cheap.

There are painters who are well suited to the business, really love it, are good at it and apparently do quite well. You have to decide if you really, really love it because it is something you have to devote a great deal of time and energy developing.

I just though I would present the other side of the coin.