As artists, why do we have to talk about money? Because we have to and because it’s our job to do so as a working artist.
In my opinion, this is, perhaps, the trickiest part when it comes to art: pricing your work. Money is something many of us enjoy having, but not necessarily something we enjoy talking about. This is the part when art becomes a little less fun. I remember being taught that it’s something you simply don’t talk about at all, and asking for money is just a big no-no. This mentality is perhaps what feeds the guilt and the lack of confidence many of us have when it comes to commanding rates and prices because art is not exactly a straightforward product you can reduce to a number, like a bag of flour or a bottle of shampoo that can be easily and objectively quantified.
But really, how do we expect to be paid if we don’t have the initiative to even talk about the value of what we do?
Pricing method
There are some ground rules you can set for your body of work. For painters like myself, one can price art per square inch, per linear inch or by the hour plus costs. Personally, I use the square inch method because it’s what I was taught and it has worked for me since. Now knowing the multiplier without overpricing yourself will require a lot of research. Study the different prices of artworks across varying work experience, exhibits, art background (I have none, don’t worry), size and medium. The internet makes this part rather easy.
Setting the tone
I think this is where having a non-art background helps. In an earlier blog post, I talked about my years of experience wearing many non-creative hats and how this provided a solid backbone from which business ethics and protocols were born. These non-artsy elements are key in being a reliable artist. Our decorum affects people’s perception of our transactions, whether on paper or in person. Do you hesitate when asked for pricing? Do you exude conviction? Ditch the emojis, the smiley faces and the multiple exclamation points. Refrain from making jokes or giggling nervously, and try not to get flustered in the client’s presence when money is now the focus of the discussion.
If, however, you feel you can’t blurt out a price at the drop of a hat, be honest and say “Could you give me time to review your requirements? I’ll get back to you within the day”. This will buy you time but do not delay. Keep the turnaround time very swift and be ready to draft your own contract if the client won’t provide any.
Oh, and when dealing with clients face to face, remember to dress smart and neat. There is immense power in it.
Dealing with low-ballers
Up until recently, I still got offered “mileage” as compensation. Seriously. It’s 2017 in the age of social media where artists have direct reach with their audience. Unless it’s a major publication, a relevant TV feature, a globally recognised blogger or Oprah, the offer of mileage does not always compute.
I also noticed the term “collaboration” being distorted to serve other people’s own purpose. If you are asked to shell out your time and give your products for free in exchange for foot traffic and exposure yet the establishment you are “collaborating” with benefits financially and directly from the project, I wouldn’t call it a “collaboration” anymore.
I would simply call this unjust.
In the second part of the blog post, let’s talk about doing art (and other creative things) for free and why this practice should be obliterated from today’s world. It’s about time, don’t you think?
Click here to read Part 1.