Monday, March 18, 2013

Negotiating commissions for paintings

 This post was prompted by someone mentioning to me that their neighbor had a big, fancy house and maybe I should paint a picture of it because the owner might buy it. That is not something I would  do. I paint what I want, that is, unless someone is willing to pay me well to paint what they want. Even then, I have to be at least half way interested in making the picture. I am too lazy to work for money alone, I need a thrill.

 Occasionally I am asked to undertake a commission to  paint a  picture for a client though. Portrait painters do this a lot, landscape painters less often. Still, over the years I have done many. When I opened my first gallery in Rockport in 1983 I decided that I would take any job that came through the door, I figured I would learn from that. I did some crazy things, like repainting part of a circus wagon and replacing a missing head in a spurious Corot. The client loved my work! He said it looked just like Elvis. I had to do a dog portrait or two in that era too. The canid is always dead in those deals, and appears only in one out of focus photograph. It was always a copy the photo job, lots of dreary work and short pay.These days I only am willing to do landscapes and there are a lot of people out there who will paint your house or last year's pup a whole lot cheaper.

Sometimes however a commission comes along for something that falls within the  bounds of my specialty.When it does, what I tell the potential client is exactly this;


 You simply MUST get half up front! Don't undertake any job without it. If they are in for half, they will still want the picture when you have made it. Not getting the down payment will result in your getting stuck working for free. Maybe not the first time or the second, but sooner or later you will get stuck.  This is particularly important if you are making something that only that client would want. You will have a hard time selling a picture of their late poodle-muskrat mix sitting obediently  on  grandmas neon orange afghan to anyone else.

Never accept the entire fee upfront. I want to be rewarded when I finish the job, if I am already paid for it, I have a hard time keeping it ahead of other projects. If I know that when I deliver the piece I get paid, that serves as a carrot on the stick for me. Also, be absolutely sure they understand that the down payment is nonrefundable, you are hired to make the art and you will make it. Thats what the down payment hires you to do.The second payment is your reward for making sure they are happy with the finished piece.

I give them a rough idea of how long it will take me to do it, usually in months. I don't accept tight deadlines. Sometimes a painting can suddenly become a lot more work than I anticipated. Illustrators are skilled in turning out art on short schedules, I am not.

I always provide a frame.That picture is going to have my name on it out there in the world. A handmade closed cornered frame makes my work look best. My client might go to the local framer and get a frame that looks like the box Velveeta comes in. Generally the client is familiar with my work and expects the high quality frames I use anyway.
I often arrange to deliver the finished work in person.  Frequently the client wants some little thing changed. I have my paint kit  in the trunk of my car and I fix whatever it is then and there. The client then has personalized the painting and feels like it is now "theirs". I delivered a painting of Polpis harbor to a client once on Nantucket, they wanted the painting because their catboat was in it. The buyer looked at the new painting with elegant concern and explained that I had failed to include the boom crutch. That's a Y shaped piece of board that secures the boom  when the boat is moored. I installed that boom crutch in about thirty seconds and the buyer was delighted. I hate boats, they sink.

  One of the dangers of  commissions and something that portrait painters face routinely, is when the painting becomes a joint effort between the artist and a second party who knows NOTHING about art. Sometimes they will want  something done in the painting that you know will weaken it. So far I have been able to dissuade my clients from what I know are bad decisions, and they have trusted my judgement. But I have had a few scary moments and I have been lucky that my employers (for that is what they are) have respected my experience enough to defer to my opinion.

As I said above, I went through a period when I accepted every commission that came my way, and that was a great learning experience. Later I decided that it was imperative to be choosier. There were jobs that were worth more than the client was willing to pay, for instance. There were jobs that were distasteful or vulgar. I was once hired to paint a picture of a young boy pulling a sled through a woods full of new fallen snow. The man wouldn't accept the picture until I made the boys butt larger and more appealing. I made it the size of a pair of grapefruit, the child sported a fixture like Jennifer Lopez when I was done with him. But I decided that was enough of that kind of work.

 An offer of a commission is just that, a proffered deal. You are under no compulsion to enter into the arrangement, you need to compare it to the profit and enjoyment you might have from doing something else with your time. Some offered commissions will be profitable for you, and some will not. Guys who build or repair houses learn that, so should you. Picking and choosing which commissions to do can make or break you. There are plenty of people who have little respect for art, or are well meaning but have little idea of the time it takes to make a painting and they will expect you to work for  short money. You deserve to be as well paid as a carpenter.

You should reject those commissions, and wait for better offers to come along.There's an old saying " I bargained with the world for a penny, and that's all it would pay!" I did a lot of that, way too much.  You should place a high value on what you do and you are in a position to insist others to do so as well. If it takes a long time to paint a picture and then you sell it for short money, you have lost money, not made it. That was a hard lesson for me. It took me years to figure that out. Never compromise your quality for money, particularly short money. You will spend the money quickly, but that painting will bear your signature for generations, and it WILL show up on e-bay someday, count on it.


 I have worked weeks to make a 300 dollar painting, but not in a long time. I was once approached by  woman who had just been married, this was in about 1984. She had a picture of herself and her new husband that had been shot  in the later hours of their wedding reception. She hadn't hired a  photographer and wanted me to make a wedding picture from the photo. The offer was 300 bucks. I did a lot of 300 dollar deals in those days. In the picture the porcine lout was grinning foolishly and  had  consumed a drink or two. I never saw the actual groom himself. I explained to her that all I could do was reproduce the photo in paint as I had nothing else to go on. I labored on that portrait for weeks, WEEKS! It was only a 16 by 20. I changed the background to a lovely rose window so it would look look a church. I straightened his tie and removed the crimson from his scelera and the dark five 0'clock shadow from his australopithicine jaw. When she came to pick up the painting I had worked so hard to make, she practically threw the money at me and stomped out of my studio. She expected somehow that I would paint the charming Romeo she knew, rather than the sodden tongueswallower in the photo. Maybe she was unhappy with the way she looked in the photo, I know I was. The moral of this story is, if you must work from a photo, be sure it is a good one. Your client has no idea of the limitations which the bad photo places on you, and expects you to paint what they think of the subject, not what the reference they have given you shows. Regardless of what they pay, people always expect a wonderful work of art. They will never say "oh well, I only paid 300 dollars for it"
My advice is, don't work for money. The world has more ordinary paintings than it needs, work to make beautiful and excellent art. The money will follow. If you absolutely have to make money to survive by your art, make 8 by10's, on spec. But make them wonderful and sincere, sell them cheaply if you must. Sell them on the web for what the market will bear. You will be running a long term plan that will lead to excellence and pride in what you do. Look at your work as building an artist.


Anonymous said...

Funny and wise as hell.

Sue Harrell said...

Thanks for such a thoughtful and thought-provoking article. Common sense advice.

Camille LaRue Olsen said...

I needed this advice, thanks much for it and thanks especially for your pride-swallowing candor.

Gexton said...
This comment has been removed by a blog administrator.
David Teter said...

Gexton... what the #%&$ are you talking about?
... oh, you are a can of spam!

Nice post Stape, I know I have been down this road a few times.
I was asked to do a beach scene mural in a five year old boys room a few years back... Mom wanted sand dunes with those beach style picket fences... I looked at her and said "Do you really think a five year old boy wants that on his walls? I'm the artist, the creative and I'll get back to you..."

I gave her sketches of pirate ships, sea monsters, stormy sea's, diving bells etc, all the cool stuff.
Thank god she listened to me.

I have had others who wanted me to work 'on the cheap' too... $200.00 for all that? forget it!
I'll tell them I will spend at least half that before I even put brush to canvas.
I should send them to the art store with a list of all I need for their painting, when they see how much it all costs maybe they will appreciate the real cost more.

BTW did the wedding shot guy die?

Thomas Jefferson Kitts said...

Always practical with your advice Stapelton and it is based upon real-world experience. Nice.

FWIW, I accept commissions -- doing one now, actually -- but the people who pursue me need to be vetted. I spent years as an illustrator, and in that environment I knew I was working with art directors and designers who understood the process and the effort it took to create good art. (Well, most of them did. It was the end client that always worried me.)

I charge more for accepting a commission and I make it clear to the buyer at the time of handing over a WRITTEN ESTIMATE AND FEE SCHEDULE I do so because they are involved. So right up front it is understood there will be some back and forth and approval expected from the client. It usually becomes obvious at that point how things will go and I can then decide whether accept or not. (Or whether I'll need to tack on the *sshole tax...)

And oh yes, there MUST be a deposit paid before anything starts. Depending upon the $$ involved it may be 1/3 to 1/2 with another scheduled to be paid upon acceptance of sketches. Otherwise the buyer won't value my time and waste it. In fact, after making one or two revisions to what I feel is a finished work I'll start telling the buyer on the third request, "Sure, I'd be happy to do that...for $XX. Would you like me to start it tomorrow or give you some time to think about it?" Which is a nice way of saying I'll keep making as many revisions as you want but not for free. And gives them a graceful out by taking the painting home and then letting me know the change isn't needed. With commissions it is all about client-managment and attaching costs to changes almost always results in a happy conclusion of the painting. Almost.

The worst commission I ever endured came from a social-climbing grandmother who wanted a Sargent-esque triple portrait of her grandchildren in her parlor. Oh, the horror. Those kids were already button-cute but Noni insisted in dialing the sweetness up to 11. It's how she saw them. Actually, it was from that experience I learned to charge for excessive change-orders, as I once did as an illustrator. She had me working on that painting for nine months. Because I let her.

Bottom line: The fine art and commercial world can share a lot in common when it comes to business... (grin)

I hope to meet you someday, Stapleton. And paint together. It is always a pleasure to read your blog.

Thomas Jefferson Kitts

Tracey Mardon said...

Thanks for the excellent advice and the wonderful chuckle!!!

Lori Quarton said...

Wonderful advice. I am now sitting on 3 identical paintings (or as close as they could be) of a client's home. They were to be gifts for her 3 sons. I got 25% down but since she was a "friend" I didn't ask for any more. She came by to approve the sketches and agaub when they were finished and asked if I could frame them. We picked out a frame and I went and purchased the frames. I never heard from her again and she shielded herself behind her answering machine. No computer, of course! I've no idea what happened and I certainly can't sell those paintings to anyone else. As you said, get 50% down!

James Gunter said...

How I cringe when I remember the commissions for portraits of dearly departed doggies or grandma and grandpa painted from blurry Polaroid snapshots! I think they served a purpose way back when, though, since the experience taught me a lot about dealing with clients and what was or wasn't worth my time and effort. There was no Stapleton Kearns blog (or ANY blog, for that matter) back then, so I had to learn things the hard way. These days, your blog is a big help and much appreciated!

...And entertaining!

Theresa Grillo Laird said...

I was once commissioned by a woman to paint a portrait from a photo of her 1 year old girl. I agreed to a much too low fee figuring it would pay off in the long run when she showed it to her friends. The only change I made to the photo was to change the cell phone the child was holding to a couple of daisies. The woman was delighted until she showed it to her husband who had been away when she commissioned it.He insisted on changes including a tiny tiny nose that completely altered the child's expression and looked freakishly out of proportion. I cringe now when I think of that portrait. I hope they burned it.I'll never again agree to changes I strongly disagree with.

barbara b. land of boz said...

Well said Stape, words of wisdom for sure. Keep on keeping on!

Susan Renee Lammers said...

Thank you Stapleton. I really appreciate your writings on this subject. I am painting those 8x10's! The funniest thing I have ever been asked to paint is a plastic lobster candy dish. He paid me 100$ to make it look real. I did! Take care. Love reading what you write.

Unknown said...

Great article Stapleton! I think your advice is excellent and should I do commission work again, the 'half price up front' will be the first thing I tell a client.

Judy P. said...

'Look at your work as building an artist.'
Great closing words, thanks Stape.

Michael Chesley Johnson, Artist / Writer said...

I do commissions, but do so reluctantly. (I do get half up front, just like you, Stape, plus the balance on delivery.) I do them reluctantly because, so often, the client has a certain vision of the scene, and not being a mindreader, it is almost impossible to get it "just right." I tell them I'll do my interpretation of the scene, and if they don't like it, they don't have to pay the other half. I do some digging to make sure I have as good an idea as I can get of what the client wants. But really, it's my least favorite way of doing business. Hey, pick a painting I've already painted! We'll BOTH be much happier.

Anonymous said...

Hi Stape, wonderful advice. I did commissions for a few years... I realized that I was regarded as a service provider, not an artist.

Karen Eade said...

Thank you for this inspiring and very moving post: it's the sort of advice and insight that I really need but no-one is there to give me. I am already trying to paint only my best (8"x6") on spec and then sell. I would love more commissions (I paint dogs from choice - sorry!) but I hope they will come if I just concentrate meanwhiles on being as good as I possibly can be. I am plagued by people asking me to paint their dogs, wasting endless amounts of my time with preliminaries about composition, size, whatever and then Not Following Through. These NFTs are driving me nuts. Have you met any and how did you deal with them?

Randall said...

Nice post Stape! How did sandcape go?


Stephanie Berry said...

Wow, guess we've all been there. When I hear "I love your stuff-would you paint a picture of my house?" I want to say just buy one of my available paintings. How interesting can your house be?

Durinda Cheek, Fine Artist said...

Just found your blog post on this one, Stape. Very good insight into what artists can go through to make a living. Glad you are painting from your heart now and encouraging us to do the same.

Unknown said...

I hate commissions! I almost just cant do them, no matter what the pay. I have one looming now, all the worse because its a friend, and its a gift for his wife- " YOU know what she'll like, right?" Oh great. I couldnt weasel out.
The very worst, though, was a commission to paint a gal's husband, hiking his favorite trail. Bad reference photo. I did what i could, and called her to tell her it was ready. She i vited me to bring it to the house. Little did i know she had the whole family there, and i had to unveil the surprise painting, as yet unapproved j front of all of them. The grandson saved the day- when he saw the painting, he said, " hey, thats grandpa!" After that, he couldnt not like it.

Anonymous said...

Great article Stapleton! I Really like your stuff-would you paint a picture of my house?"

john pototschnik said...

Excellent, Stapleton.