Pricing paintings

Paul Dorrell

Q. What’s the rule for pricing your work? I’m afraid I might be charging so much that I chase away my clients. My friends say I’m charging too little. How do I know when I’ve reached a happy medium?

A. Please be aware of this one general truth: You almost always underrate the value of your work and how it should be priced. By the time you get ready to sell, you’ve invariably paid great dues, labored for years in obscurity, and made sacrifices that most people wouldn’t even consider making.

Unfortunately there’s no specific formula for pricing your work, but there are some general rules. When you’re in the younger stages of your career, say 27 to 35, you’ll command less than when you’re older and more accomplished. Never mind if you’re a master by the time you’re 27 (normally we aren’t). What collectors pay attention to are the juried shows you’ve been in—especially outside your region—the clients you’ve garnered and the commissions you’ve completed.

Regarding pricing, the process is simple. Visit three or four galleries that carry work that’s similar to yours in terms of medium and execution. Determine an average of the prices those artists are getting—assuming their age and accomplishments are similar to your own—then determine what’s fair for you. The prices you charge at art fairs or out of your studio should be the same prices galleries would charge if they were carrying your work.

Here’s a basic breakdown for oils and acrylics on canvas or panel that have been framed. These apply to artists varying in age from 27 to 40, of varying levels of accomplishment:

12x16: $950 to $1,400
16x20: $1,100 to $1,900
24x30: $1,800 to $2,600
24x36: $2,600 to $3,600
30x40: $3,100 to $4,200

I have artists who sell above these levels, and a few who sell below, but this is the current mid-range. If you’re on one of the two coasts, you can lean toward the higher end of the scale because of the inflated cost of living. If you paint in watercolor or pastel, your work will likely fetch a lower price—which is unfair, but that’s the reality of the market. So please: If you’ve been undercharging, it’s time to stop.

                                                                                                                                               

 

Career starters

Paul Dorrell

Q. I need to put together a résumé, but I can’t find any reference books for an artist’s résumé. What categories should I include on it?

A. In my book, Living the Artist’s Life (Hillstead Publishing, 2004), I give an example of a typical resume, as well as of an artist’s biography, both of which should be kept to one page. Why would you use a bio instead of a résumé? Because if your work is good (and you’ve had qualified critics assure you of this) but your achievements are few, a bio will suffice. But if you’ve achieved enough to list your accomplishments on a résumé, the formula is simple:

• Type your name in a large font at the top, with your contact information in a standard font beneath.

• Include your date of birth if you’re at least 30 years old. I don’t advise this if you’re younger than that, since your youth may be unfairly held against you, even if your work is brilliant.

• If your education and training are relevant, list where you studied, when you graduated, and with what degree. If you’re self-taught, I don’t advise that you list that fact. If the work is good, that’s all that matters.

• In the body of the résumé, list the shows you’ve had, whether in restaurants, art fairs or galleries. Start with the most recent date, and work your way back. List student shows near the bottom if you need to fill up space.

• If you’ve had any press, even if just in a small newspaper, list that in a separate section.

• If your work is in corporate, civic or private collections, list that under “Select Clients.” I don’t care if you give the work away; if it’s legitimately owned by the collector, it counts. This is only one formula, but it’s fairly standard and useful.

 

                                                                                                                                               

 

Getting into galleries

Paul Dorrell

Q. I have a collection of works that I’d like to show to galleries, but I’m not sure how to present them. Do I bring my actual paintings, slides or transparencies? And what’s the proper way for me to approach a gallery? Can I walk in unannounced, or do I need to make an appointment?

A. The best way to start a relationship with any gallery is to visit the space. Does it strike you as being organized and efficient? Is there harmony among staff members? Are browsers treated with consideration? Do you get a sense of optimism and profitability? Or maybe you feel tension among the staff. The place may lack optimism and energy. Is it shabby or ill-maintained ? Finally, do the director and staff behave like snobs? Even if it’s a profitable gallery, this kind of attitude drives away hordes of people who would otherwise participate in the arts—and collect your work.

If you’re comfortable with the gallery and one of the assistants seems to have a second to chat, you can briefly show a portfolio to see if they’re interested in making an appointment. Be sure to get the gallery’s business card as well so you can mail in visuals; e-mail is acceptable for directing the staff to your website or for sending digital images of your work, but I find it’s not as effective as a portfolio sent by regular mail.

To mail your presentation, assemble the necessary materials in a simple but attractive presentation folder. CDs or DVDs of your work are preferred these days, but photos and slides are still a valid format. No matter how your art is presented, the photography must be sharp and of professional caliber. This doesn’t mean you have to pay professional prices—just find a competent photographer who works out of his home, or learn to shoot photos yourself.

Next, type a brief letter, preferably on your own stationery (which you can print via desktop computer to save money) and include your résumé, a postcard or brochure of your work, any articles about you that have been published, and a business card that should match the stationery in terms of layout. Finally, be sure to include an SASE if you want your materials back. If your work is strong, then every minor thing you can do to enhance the perception of being professional and established is critical.

After you’ve mailed the packet, wait a week before calling the gallery to politely ask for an appointment. Be prepared to get rejected many times, as this is more common than not. It’s for this reason that you want to approach several galleries. If your work is mature, you’ve put in the hours and have realistically assessed where you are artistically, you’ll ultimately find the gallery you’re seeking. Yes, it will take perseverance, but you’ve come this far as an artist, so persevering should be nothing new.

                                                                                                                                               

 

On public display

Paul Dorrell

Q. How do I know if I’m ready to start submitting my work to galleries? And, if I’m ready, how do I know which gallery or galleries to pick?

A. Before you can begin submitting to galleries, you should get qualified feedback from critics whose judgment you trust. It’s important that these critics aren’t family, aren’t in love with you, and don’t owe you any money. In other words, you’re looking for objectivity. It’s also important that these critics be immersed in the art world; for instance, college or high school art instructors, a sophisticated collector, or a fellow artist.

Once you find those critics (three will do), each of them should be sympathetic to what you’re trying to achieve. For example, if you’re a landscape painter, I wouldn’t advise submitting to someone who’s biased toward abstraction. So dig up that handful of people, take your work to them—with a pair of cappuccinos and some pastries in hand—and sit down. Listen to their feedback. If you trust their judgment, and their suggestions make sense to you, act on them.

Be open, but in the end you must follow your own instincts. If your training, talent and discipline are sound, your instincts can guide you very well—even better when coupled with sound criticism.

Regarding the eternal search for a good gallery, take heart: It isn’t always eternal. Persistence will land you competent representation, but you’ll have to do some legwork. First, you must make certain that the galleries you approach are open to carrying the sort of work you do. Then ask yourself: Are they contemporary? Are they traditional? Do they carry both types of work? And, equally important: Are they established and successful? Assess these things for yourself, contacting artists already in those galleries if necessary and asking them relevant questions.

Once you find galleries you admire based on sound recommendations—whether in your city or a neighboring one—then make an appointment to show the director a portfolio, making sure that you have some original pieces stashed in your car. These must be your strongest pieces, and well framed if you use frames. (Four to six paintings will do.) If you’re fully prepared, there’s a good chance that you’ll be leaving the paintings at the gallery, and not lugging them back to your home.

                                                                                                                                               

    

The Group Dynamic

How do I go about starting an artist's guild?

Paul Dorrell

Q. I love to paint, but it’s hard to paint without the inspiration and support of other artists. There aren’t any groups in my area, so I’m thinking about starting an artists’ guild. What’s the best way to start one?

A. This is a great idea, and one backed by a strong tradition. As you likely know, groups of artists have played a role in the development of one another’s careers throughout history in terms of sharing encouragement and ideas.

There was Edgar Degas’s group that gathered each summer on the coast of Brittany, France, which in turn gave rise to Paul Gauguin’s circle of painters. Henri de Toulouse-Lautrec’s group roved in and out of a variety of Montmartre cafés. And let’s not forget Thomas Hart Benton’s crowd on Martha’s Vineyard in Masschusetts, the American Impressionists at Old Lyme, Connecticut, and Jackson Pollock’s band of merry drinksters at the Cedar Tavern in Greenwich Village in New York City.

How do you form such a group, regardless of where you live? Start by asking yourself whether the purpose of forming this group is to get together with artists or to get down to the blood-and-guts aspects of creating art. Either way, your overall purpose should be growth, both as individuals and artists, and when everyone understands that this is among the group’s goals, you’ll be creating a coalition that may well leave a significant stamp on each of you for the rest of your lives.

Next, undertake an e-mail campaign with all the art teachers in your area, both at the college and high school levels, to get their input. Many of these teachers are artists themselves, hang out with artists, will gladly pass on the information and will probably even join your group. It’ll be up to you to decide if you want to restrict the group to the kind of work you do or if you want to leave it wide open. I would recommend the latter, as variety is more stimulating than familiarity.

Then, after your group has had a number of meetings, should you desire further exposure, approach the local newspaper. If you live in a fairly large city, it’s unlikely that your major daily newspaper will do a story on this, but it’s possible that a smaller, community-oriented newspaper will. Why would any of these journalists care? Because they’re often sympathetic to the arts, as they’re part-artist themselves.

So call the paper, get the name of the appropriate assignment editor and send her a press release. You can do this via e-mail or regular mail. I recommend the latter so you can include visuals of some of the artists’ work. The release is nothing more than a one-page business letter explaining your idea, the story behind it, and the reason it has an element of human interest. Make the story as interesting as possible. After sending the release, wait one week, call the journalist and politely inquire whether the newspaper will be doing the story. In time he’ll let you know. Just don’t bother him too much, as journalists are insanely busy people with even more insane deadlines.

                                                                                                                                               

Commission tips

How to get more commission work?

Paul Dorrell

Q. Since I’ve started painting, I’ve done portraits of a few friends and secured a few commissions from around my neighborhood. Now I want to start taking on more commissions. How do I create a larger client base and where do I find more people interested in commissioning my work? If I can’t find interested people, does this mean I’m not ready to take commissions?

A. The number of people who are willing to pay what a well-done portrait is worth is small—perhaps five percent of the public. Even then, you’re up against portrait artists who dot the beaches of Florida and California, cranking out reasonably well-done works for as little as $100 a pop.

While this stuff is fine in its way, an in-depth portrait is in a completely different category. Unfortunately, those inexpensive portraits may prejudice people into believing that painted portraits should also be relatively cheap—meaning roughly $1,200 for a 24x30 painting. This is absurd. My advice? Don’t get mad, get smart.

You have to help create your market. Start by establishing a Web site that showcases your talent. Make sure it’s well-designed and that it has a clean yet dramatic look. Many Web designers work out of their homes, so there are inexpensive ways of doing this. Make sure that your Web site can be found under all relevant search engines; if it’s a completely new site, it must be manually submitted to the search engine sites. You can also ask art societies in your area to include information about you and a link to your site on their own Web sites.

At the same time, you should print either a simple bifold brochure that can fit into a business envelope or, if you can’t afford that yet, a crisp postcard that shows one or two images. On either the brochure or postcard, print your Web address and all relevant contact information. Do the same with business cards, which you should have by now.

Once you’ve covered these bases, begin to get your brochures into the hands of well-connected interior designers, socialites, university and corporate administrators, select galleries and anyone else you can think of. Be willing to pay the designers 20 percent of the gross sale for any commissions they help you land. The same holds true for galleries, unless they represent you, in which case their commission is 50 percent. Conclude this marketing program by attempting to get some newspaper—any newspaper—to do a story on you, your journey and your artistry.

Be willing to take the necessary time in developing this aspect of your career. If your portrait work is truly singular, then the small precentage of people who can afford it in your area will begin to seek you out. But remember, if you can’t find interested clients right off the bat, it doesn’t mean that you aren’t ready to take on commissions. It may only mean that you’re suffering under the same constraint as all emerging portrait artists—the restrictions of a limited market.

Your clients are out there. You just have to be creative enough in bringing them to you.

                                                                                                                                               

 

Selling your license

How much to charge for a licensing fee

Paul Dorrell

Q. A woman has contacted me about buying the rights to one of my paintings she saw online. It’s supposed to be for her one-time private use. How can I know how much money to ask of her?

A. This issue is coming up with an increasing frequency. What you want to offer this person is a licensing fee, and keep copyright out of it. I never advise artists to sell copyright, or one-time copyright, unless they get plenty of dough for it—the standards for which vary. But before you come to an agreement with this client, ask the following questions: For what reason specifically is the image being used? Is there any resale involved? How will you receive credit for the image? What is the expiration date of the agreement? Will you be giving final approval to how the image is re-created?

If the client wants to print the image once for private use, charge her $250, go out for sushi and call it a day. If she wants to use it for a billboard, charge her $30,000 and go to the Caribbean. Seriously, there’s no one standard that applies across the board. It depends on your career’s status, the work’s value and popularity, and purpose for which the client plans to use the image. Beyond these variables, a copyright lawyer can help you determine an appropriate fee.

Remember, copyright is different from licensing. By law, you own copyright on every work of art you produce, regardless of whether you register the copyright or even sign the piece. Never allow a client, especially a corporate one, to reproduce one of your works in merchandise such as greeting cards, brochures or posters without a written agreement signed by you. The agreement should address all the necessary issues: quantity, royalty, quality, proper recognition of the artist on the product and so on. It doesn’t matter if the party in question is giving these items away or selling them—the image belongs to you. Only you should determine how it will be used—unless you’ve signed away the copyright.

If you haven’t signed it away, and if a client reproduces a work of art without your permission, he’s violating copyright law. In my gallery, copyright law is addressed in every contract I write and in every certificate of authenticity we print when selling a work of art. This educates my clients on various aspects of that law and ways to stay within it.

You don’t always need to charge for copyright usage though. For example, if a corporate client wants to use one of my emerging artists’ work on its Web site or in printed material, I’ll often waive the fee in exchange for significant promotion. This decision pleases the corporation and usually helps us pick up a few more collectors. Once that same artist matures in his career, I normally charge the fee.

Could you ever picture a corporation giving away something it created for free? Of course not. It’s the responsibility of each artist, apart from creating his work, to also inspire appropriate respect for it. In some fashion, I do this with my clients every day. I trust that you and your dealers will do the same.

                                                                                                                                             

 

The Cost of Fame

Is getting your work in restaurants considered selling out? Paul Dorrell gives his answer.

Paul Dorrell

Q. I want people to see more of my work, but how do I get more public exposure if I can’t get into a gallery or show? Is it “selling out” to put my work in a restaurant or office? Would it make me look like a less credible artist?

A. When I first started my art business in the basement of my house, I had no public space for my artists. Did this mean that the work wasn’t any good? Not in my opinion. I was happy with much of the work and grateful that these artists entrusted me with their careers. The challenge was to get them public exposure until I could afford to open the gallery—which came two years later. Consequently, I set up exhibits in corporate lobbies, in upscale restaurants and in the homes of wealthy socialites, and I entered the artists I represented in select art fairs all over the country.

The initial sales we made in the restaurants weren’t numerous, since no sales staff was on hand to discuss the work with prospects. Eventually I offered the wait staff a 10 percent commission on every prospect they brought me, which increased sales. Not a bad beginning.

This isn’t selling out, and it doesn’t make you look less credible. You’re in the process of establishing a following and hopefully creating collectors. Any appropriate venue is fine. After all, a gallery will look at you more favorably if you’ve sold several works than if you haven’t.

Regarding restaurants: These establishments can work well for selling your art over time, but only if the lighting is good and the setting is upscale. It also helps if the managers and wait staff feel genuine passion for what you do. Just make sure that you provide plenty of postcards printed with your contact information and, if possible, try to have a show opening that’s listed in the paper.

Beyond that, simply enjoy the gig. When done well, it can be a major step toward gallery representation. In fact, I discovered one of my best young painters in a Malaysian restaurant a couple of years ago. This turned out to be a very good thing for both of us.