A huge amount of my effort goes into public relations, all with the goal of building up the brand of Artist Drew Brophy through media exposure.

Why?  Because exposure = popularity = interest = fans = sales = success.

The hard to swallow truth is this:

The most successful people are not necessarily the most talented; they are the best marketed.

Many people mistakenly think they have to go out and spend money on advertising to get press.  But for small business owners, that’s not always the best way to go.

Free press is so much better than paid advertising!  When you’re written about in an authentic story of interest, the public is more likely to pay attention to it.  And, it’s better because it’s free…leave the expensive advertising to the Coca Colas of the world.

Having an authority (like a newspaper or magazine or blog) to write about what you’re doing gives you exposure and credibility. And the more of those 2 things that you get, the more people will know about you AND will trust in what you do.

In the past few years, Drew’s art has been on the COVER of many publications: Surfing Magazine, Eastern Surf, Airbrush Technique Magazine, Longboard Magazine, So Cal Magazine, Pinstriping &  Kustom Graphics and SC Times Newspaper, to name a few.

He’s also had full color art in magazines such as Playboy, Spin, Surfer, Juxtapoz, Art Business News, Royalties and License.  (And then there’s numerous mentions in trade magazines, too many to count.)

And though I’d love to say that all of these publications come running to us for a story, that would be a lie.

The truth is, we work at it constantly. We send out press releases  several times a year and we keep in close touch with the media.

But, how do you get an editor to care about what you’re doing?

By sending a proper press release: According to expert promoter Artist Tara Reed, a press release is “a one-page document that tells a specific piece of news about your business – it’s an announcement.”

There is a strategy for sending press releases, and I’m going to share it with you, along with information I pulled from Artist Tara Reed’s wonderful e-book titled LEARN HOW TO BE A PRESS FRIENDLY ARTIST (This book is not just for artists, it’s applicable to ANYONE looking for details on how to write and submit press releases.)

I’ll use my most recent press release as an example of how sending out a press release is effective in getting free press:

I sent a press release to announce that the Cox Network in San Diego picked up my tv show, THE PAINT SHOP.  (You can see the press release here.)

To announce the news, I emailed a press release to publications and online news sites.

The result: Over a dozen blogs and media/news websites picked up and listed my release AND we got an interview with a writer of a column called JOE SURF in Laguna Beach, which made it into the printed paper that week.

HOW TO CREATE/SEND A PRESS RELEASE CHECKLIST:

1.)  HAVE SOMETHING TO ANNOUNCE:  You have more interesting things to announce than you think!

THE KEY IS TO NOT SELL, BUT TELL.  What I mean by that is:  You want to send out “newsworthy” releases, not advertisements.    Here’s just a few ideas for you:

• You changed companies
• You won an award
• You wrote a book
• You signed a new deal or license or partnership (get your partners approval before sending)
• You have an event coming up, like a “ten years in business” party or an art show
• You’re doing something great for a charity
• You’re paddleboarding 225 miles down the rapids of the Grand Canyon
• Anything that could be considered Newsworthy!

2.)  CREATE YOUR “MEDIA HIT LIST”: Make a list of RELEVENT media sources and their contact information.  This can be done in an Excel spreadsheet or your e-mail program where you keep lists.

Many years ago when I started compiling my lists, the internet was not a source of information.  I did it the old-fashioned way – I would pick up a newspaper or magazine and I would find out who the editor or journalists were, and add them to my press list.  Now, most of the information you’re seeking can be found online.

Separate your contacts into groups, so that you only send what’s relevant to each group.   Don’t send a story about a local event to someone in another state (or anything obviously irrelevant).  You will quickly be put on their “spam” list and you will kill any chance of them paying attention to future releases.

INDUSTRY LIST:   Since Drew is a surf artist, I focus heavily on the surf and action sports industry publications such as Surfer Magazine, TransWorld Surf, etc.  There are many online news websites in the industry as well, such as Surfline.com.

LOCAL LIST:  Since many newspapers like to write about local people, I also keep a list of relevant journalists and contributors to local newspapers such as the Orange County Register and the SC Times and Sun Coast News.

3.)  WRITE YOUR PRESS RELEASE – There are professional standards to how a press release is written and structured, and you can find help with that online, or you can buy HOW TO BE A PRESS FRIENDLY ARTIST by Tara Reed, where there are sample releases and a lot more information.

Here are a few quick tips:

• Have a compelling title, so that your press release isn’t trashed.
• Keep it to one page, so it’s not trashed.
• Make sure it’s interesting enough, and never ever seem like you’re selling something, so it’s not trashed.
• The overall goal here is this:  Write it so that the editor doesn’t throw away your release!

Writing a release often takes me all day long, no kidding.  I obsess over making it interesting, compelling, well worded and properly written.  But it’s worth the time that I put into it because I always end up getting at least one or two write-ups in the printed media.

You get better and better at writing releases as time goes on.  I’ve gotten good at it, though I’m still not quick.

4.) ATTACH A GOOD, PRO PHOTO – as Tara Reed says, “You want to have print-worthy images.”

We always make it a point to have professional-looking photos at the ready when a reporter calls.  The more your art or your products or your face is printed in the paper, the better.

(You can read more about photographs in my post titled WHY ARTISTS SHOULD SHOOT THEMSELVES.)

5.)  POST YOUR RELEASE TO AN ONLINE DISTRIBUTION SITE: Tara Reed goes into great detail on this in her book.  Basically, an online press release site puts your release on the internet, which can be picked up by search engines.  It’s like putting on public record your announcement, and it stays there, always.

Some of these sites charge for use, and some are free.  I use the free one called PRLOG.Org, which I found through Tara’s book.  I am not opposed to paying for a press release site, I just haven’t found the one I want yet.  I’m still cogitating on that.

6.)  EMAIL YOUR “MEDIA HIT LIST” your release.  Be sure to send it to the media which is relevant.  Then be ready should someone call for an interview or more information.

If you get a call from a writer, jump on it immediately. They work on tight deadlines, and if you don’t respond quick enough, they’ll move onto the next story.

I hope this was helpful.  If so, you can thank me by leaving a comment!  Or, leave a question in the comments.  Either way, I want to know what you’re thinking.

Maria xxoo

*I refer to Tara Reed’s HOW TO BE A PRESS FRIENDLY ARTIST e-book often, as I’ve learned quite a bit from it.  Even though I’ve been doing press releases for over ten years, the rules keep changing!

I highly recommend this 80 page e-book if you want help with:  Properly wording your press release; Understanding of how the online distribution sites work; Samples of press releases; Tips on how to entice the media through headlines, and so much more.  It’s extremely thorough.  (I am an affiliate for the book, which means that if you buy a copy I will receive a small commission.  I only recommend items I find to be of incredible value, and this is one of them.)

 Similar Posts:

• Self Promotion is NOT a Dirty Word – 11 Ways to Market Yourself
• Say Yes! To All Opportunities for Media Exposure
• Branding Art from Surfboards to Greeting Cards – by Kate Harper

Drew is painting me a Buddha.  I’ve waited a year, but since I’m not a paying client, it always gets put to the side!

This week, he’s finally drawn up the sketch, which means he’s close to starting the painting.

The Buddha painting is symbolic to the peace that we both needed to cultivate, following up to a very stressful situation that we’ve just survived.

A long-time client had asked for artwork for a program they do each year.  They specifically requested a scene with Neptune, that mythical God of the Sea.

“We could have fun with that one“, we thought!  Neptune is a powerful figure, and Drew loves painting ocean scenes.

Drew did the work painting his depiction of Neptune on canvas, and we were both pleased with the outcome.

But then the unthinkable occurred.

A bump in the road that rarely happens.  I mean, I can’t remember the last time it did happen, or if it ever has happened – where a client came to us AFTER the work was done and said “I don’t like it.”

There are safeguards set in place to avoid this heart-break.

We always sit down with the client and Drew sketches out their ideas or what they want, right there in front of them (or over the phone).  Once he’s confident of the concept that they want, he cleans up the sketch and then emails it to them for approval.

Nothing gets painted without prior approval.  That’s how we avoid someone coming back and saying “I don’t like it.”

But this time, things were different.  Turns out the client we have worked with for many, many years, whom we have a great relationship with (still), was told by his boss, “Al” not to use the art, AFTER it was painted.

Al vetoed the artwork because he didn’t like the Neptune.    So he asked us to remove  Neptune from the image.  We were extremely reluctant.

Drew and I both agonized over how we would keep the integrity of the artwork while at the same time, keeping a good relationship with a longtime client.

Relationships are everything to us.  We weighed the pros and cons.  We drank a bottle of wine over it.  We argued amongst ourselves.

Finally, we decided to do as they asked.  Drew pulled Neptune out.  Hours of playing in Photoshop and he somehow figured out how to remove the main focal point of the painting and still keep the composition intact.  It was actually amazing that he was able to pull it off.

Al still didn’t like it.  Could we make the shark look friendlier, the octopus not so…ummm, something?

Four more hours and Drew changed those two things, too.

And still, Al didn’t like it.  So we had to call it quits at that point.  It was devastating and exhausting and stressful.  They still paid for it because we put in the time.

But that roller coaster is something we never want to go through again, ever.

To give myself control over any situation that goes wrong, I always look at myself and ask “what could I have done to avoid this?”  and “What can I do to avoid this from happening in the future?”

And the answer is, sometimes you just can’t please ‘em all.  You have to let it go.   And you have to just chalk it all up to a learning experience.

Oh, and learn to feel okay about it.  Sometimes things just don’t work out, and we don’t understand why.  We just have to roll with it.  (And be sure to always get a non-refundable deposit up front.)

Last night Drew brought home my Buddha sketch.

“What do you think?”  He asked, looking for approval to move to the painting phase.

I mulled over the sketch, noticing that my Buddha has muscles (I liked that) and  the symbolism included in the drawing.

After three long minutes, I said “I love it!  But….

Drew braced himself for the criticism that usually follows the word “but”;

I continued “What if Al doesn’t like it?”  We both burst out laughing, and a new phrase has been coined.

We had weathered another storm.  The Buddha made us laugh.  And all is well with the world again.

Here’s to living and learning and the awesome roller coaster of life –

Maria xxoo

**In the comments below, please share your experiences and solutions you’ve found when a client didn’t like your work…

.

PS:  The painting of NEPTUNE is featured in Episode 3 of our new TV show THE PAINT SHOP WITH DREW BROPHY.  You can watch the entire episode now!

PPS:  NEPTUNE original painting sold but you can order your Giclee Print on Canvas in the Drew Brophy STORE!

Similar Posts:

• Crusin to Santa Cruz – A Paint Shop Episode
• How to Price a Wall Mural – Developing a Price Sheet and Proposal
• Painting a Wall Mural: Ten Ways to Please Your Client

One of the best ways to create your own success is to emulate someone else who’s already done it. Study them and their formula.  Then put it to work for yourself.

I’m going to share with you an inspirational story and formula of an artist who started with nothing and now is quickly rising to the top.

If you want the basic formula for success as a creative person, keep reading. The indented colored text is my take on the success principles that this artist has employed.

(I first wrote this article for FIND ART Magazine last summer.  This is the long version, before FIND ART edited it.)

If you haven’t heard of Live Painting Artist Michael Pukac yet, trust me, you will.  His art is striking, but it’s his fearlessness that’s sealed the deal on his success.  Fear of failure has never stopped Pukac from going for his dream.

Pukac (pronounced “Poo-Khash) had me at “hello” and it wasn’t because he is Slavic (me to), or that he is part 1 of 2 parts of a power couple (me to), or that he would rather travel the world than have money in the bank (me too);

I am smitten with Pukac because he never gave up on his art career, even when he failed his first go around.  Now he is quickly becoming the hot new darling of the Los Angeles art scene.

And that’s a message I give to every artist who ever asks me about finding success in art.  Don’t let failure make you quit.  Pick yourself up, dust yourself off, and try again.

Pukac made the big, scary move from Alabama to Los Angeles the first time in 2005.  Things didn’t quite work out for him, though.  He endured a year of hardship before returning back to the East Coast.  He wasn’t yet ready for the big city- he needed more money and time.  But he didn’t give up on the dream.

Never give up on what you want.

Two years later a deal to create illustrations for a children’s book series came to him.  This earned him enough money to return to Los Angeles and give it a second try.  This time, he was armed with his right-brained girlfriend and manager Dicapria.

If you fall down, dust yourself off and try it again.

Living in Los Angeles has been a whirlwind for Pukac.  With Dicapria’s help, he evolved from struggling artist to having his art fully support both of them in just three years.    Each week he not only performs “live paintings” two or three times, but he also averages two new exhibit openings as well.  He’s a busy guy.

Do the hard work it takes to be successful.

From the very beginning, Pukac made sure that no matter what he did for money, it involved painting.  He explained, “My rule was to live by the paintbrush.  You can’t ever think ‘I’m too good for that.”

Pucak would accept any job that involved painting, even sign painting.  Now, he has the stature to be able to paint what he chooses.

Commit to your craft.  Do what you want to be doing.  It’s what you do each day that defines who you are.

Finding his footing in Los Angeles took planning and a lot of work.

Pukac said “In Los Angeles you have to have your game plan together to be able to live off of your art.”

He knew that he wanted to hit the gallery scene hard, but there was a catch.  He needed a platform to allow him to do it.

This is a problem that most creative people struggle with; figuring out “HOW”.  There’s no one perfect roadmap to success for art.

But there’s also a common mistake that many artists make.  They turn away opportunity when it’s presented to them. This is because they don’t see that their prayers are being answered, because often opportunity doesn’t show up looking like they imagined it would.  It comes disguised as something else.

But Pukac was open to the unexpected.  The answer to his problem of HOW to tap into the LA art scene came to him by accident when he discovered “live painting”.

He said that once he started doing live paintings, he realized that he was born to do this.  “It was the best thing that ever happened to my career.”

Be open to new ideas; you might just figure out something you should have been doing all along.

Another reason for the strong interest in his work is that Pukac’s style is fresh on the West Coast.  Los Angeles is known for having too many artists painting that ‘doe-eyed’ look and curators are tiring of it.

“I came out here and realized that no one’s work looks like mine.  Here in Los Angeles, they LOVE different.  That’s why I feel so at home in the gallery scene here.”

Have your own thing.  Do something different from everyone else.

Pukac is a visionary.  Ask him what his plans are for the next 15 years and he’ll tell you, broken down in three-year increments.  He plans on spending three more years in Los Angeles and then moving to New York for five years.  After that, he’ll move to Prague.  He has been planning his life out from the beginning. And it’s worked for him.

Plan what you want to do for the year, five years, ten years, and your life.

Extremely prolific, Michael finishes more paintings in a week than most artists do in a year. “I’ll do three paintings in four hours,” Michael says of his live painting performances.

He’s dedicated, working six days a week and often seven.   He will work on 25 paintings at a time, spending 15 minutes on each before methodically moving onto the next.  “It’s very, very efficient,” he explained.  “I have to keep that momentum up.”

Volume is substance.  Pump out the work.

Pukac’s paintings defy logic.  He gets a kick out of painting flawed scenarios, such as a woman suspended by hot air balloons which are supported by candles.  Pukac laughs, “it’s going to be a short trip!”

He borrows from serious classical pieces then adds his own humorous, clever twist.  His artists’ statement describes his paintings as “…playful – heartfelt yet irrational.  They are like romantic absurdities or well-spoken riddles with no answer…” He’s well-read and brilliant, and his paintings reflect his intellect.

I asked Pukac if he paints fast.  He answered, “Mother Nature doesn’t spend time testing before a release.  I paint the way that nature works, fast and without worry.  Quality is inevitable.”

Pukac listens to books on tape while painting.  “You can’t always listen to music,” he explains.  “I do a lot of research on other artists.”  He just finished listening to THE HISTORY OF THE SISTINE CHAPEL and now is onto lighter subjects with ONLY COWGIRLS GET THE BLUES by Tom Robbins.

Keep educating yourself

Here are a few revealing questions I asked Pukac:

WHEN DID YOU REALIZE YOU COULD MAKE MONEY FROM YOUR ART?  “As a kid, in fourth grade, I sold drawings of nudies for .50 cents to the older kids on the school bus.”  (He was a born entrepreneur!)

DID YOUR PARENTS SUPPORT YOUR DESIRE TO BE AN ARTIST?  “It kind of was always there.  One way my parents kept me busy was by just giving me a pencil.  I was obsessed.  When I got out of college, they asked ‘what are you gonna do?’  ‘What do you mean what am I gonna do?’ I said.  There was no other option.  They fully supported it.”

HOW DO YOU START YOUR DAY?  “My first hour of waking up is devoted drawing sketches – bizarre, evil lollipops and vaginas, things that have nothing to do with my work.”

WHY DO YOU THINK THAT SOME PEOPLE HAVE TROUBLE EARNING A FULL TIME LIVING FROM ART?  “They have to go through a stage of doing it even though they hate it.  I don’t think a lot of artists are willing to go through the starving period.  It took me two years.”

WHAT’S THE WORST ADVICE YOU EVER GOT?  “If you just put more dogs in your paintings, you’ll sell more!”

DO YOU BELIEVE IN THE LAW OF ATTRACTION?  “It happens again and again and again.  My whole career has been just the right person showing up at just the right time.”

ARE YOU LIVING YOUR DREAM?  “Yeah.  Every day I wake up so stoked.  To work for myself is awesome.   Some days I complain that I haven’t had a day off in two months.  But then I remember that I’m lucky.”

ARE YOU SUCCESSFUL?  “Yes. (pause)  No.  I’m happy, but I have a goal in mind and I’m on that path.”

“I’m still running that marathon.”

Please, share in the comments below what you get out of Michael Pukac’s story!

Maria xxoo

.Similar Posts:

• The Art of the Deal – Feel the Fear and Make the Deal Anyway
• 10 Principles for an Artists Success
• Do I need an Artist’s Agent?

Also check this eBook out that will help with art licensing deals:

Similar Posts:

• Pimping your Art and Why Art Licensing Makes Sense
• Should you License your Creations or Produce them Yourself
• Licensing Lifestyle Art – Your Questions Answered in free MP3

“Numbers don’t lie…”

The other day at lunch I met a jewelry maker.  She had her charms and chains and tools laid out on a table at an outdoor café, happily making wearable art in the Spanish charm of downtown San Clemente.

She was a fan of my husband Drew, and she asked if I could answer a question.

“Is it okay to go into debt when you’re just getting started as an artist?”  She asked.

She said that her jewelry business was blowing up.  It used to be an effort to generate sales for her work.  Now her problem was that she was in high demand!  But this created two new challenges:

1. She’s faced with the decision of hiring help
2. She’s racked up $$$$ in credit card debt, and it’s growing as she continues to buy supplies.

When an artist gets to the point where they are selling more than they can handle, it’s exciting!  But it’s also distressing if you don’t pay attention to the profit you are REALLY making, and making sure the cash is flowing in quicker than it’s going out.

Then this lovely lady said to me, “I don’t have a business mind.”  (Oh, if I had a dime for every time an artist said that to me, I’d be in the Maldives right now….)

IT’S EASY TO THROW MONEY ON A CREDIT CARD TO KEEP YOUR THING GOING….it’s harder to do what you SHOULD do, and that is, to pay attention to the numbers on paper.  In other words, make sure that you are actually MAKING money, not LOSING money.

The debt starts out with $30 here, $50 there.  Then the orders for your art continue to come, and you have to order more supplies.  The next thing you know, you owe so much to your debtors that you go out of business, and you have to get a job that that you don’t love just to pay your Visa.  It’s a terrible road to go down!

I learned the hard way about charging supplies and day to day needs for business.  Without going into too much detail, I’ll just say that Drew and I recently paid off a huge debt that was on our backs since the turn of the century.  That debt came from throwing money on a credit card rather than making the best business decisions.

The mistake we made was focusing ONLY on the art and sales of it, and not paying attention to cash flow and profit.  (It could have put us out of the art business!)

The advice I gave the jewelry maker was this:

STOP:  Stop saying “I don’t have a business mind.”  No one is born with a business-mind gene!  If you can read, you can learn the basics of business.  Make a commitment to train your mind for business.

KEEP YOUR CASH FLOWING: Instead of putting your expenses on a credit card, ask yourself “How can I get the cash flowing in so I can cover my expenses without charging?”  One way is by getting a deposit up front from your customers.

Explain to your customer “I’m going to have put out money for supplies.  I’ll need a deposit.”  Most people will understand this and want to work with you.  Some won’t.  For wholesale sales to retailers, you could offer discounts for payment upfront or in 15 days.  You’ll have to get creative and find ways to keep that cash flowing.

MAKE PROFIT MANDATORY FOR EVERY PROJECT YOU DO:

An accountant once told me “Without a profit, you’ve got a hobby, not a business.  Numbers don’t lie.”

This is so basic, but many artists don’t pay attention to their profit.  They get caught up in the excitement of making the sale, getting new collectors, making people happy with their art.  And it’s great to be  getting all that attention and love.  But love doesn’t keep you in business.

And if you go out of business, your time creating art will diminish because you’ll have to do something else to pay the bills.

The quick and easy way to figure out your profit: For every project or sale, make a list of all your expenses, subtract from your gross sales, and the difference is your profit .

Make sure your list of expenses include:  The cost of your supplies, the cost of an assistant, the cost of gas for traveling and anything else associated with the making of the item(s).

Now, just for giggles, take your profit and divide it by the number of hours that you’ve spent making the art.

There’s your hourly rate, and this is the amount that you are actually earning (before taxes).

Sometimes that hourly rate is AN EYE OPENER!  You might find that you are making less than a factory worker in Cambodia. And then you’ll get real depressed.

DON’T DESPAIR if you find out that you’re making less than you intended. Thank yourself for figuring this out before you went any further.  Now, with this information, you can correct the situation.

To increase profit you can:

• Raise your prices (stop under charging for your work)
• Lower costs
• Sell a different item that takes less time to create
• Market to a group of people who are willing to pay more for the same thing
• Sell direct (instead of to retailers or galleries where you earn half of the sale price)
• Use a different medium, venue, etc.  Get creative!

If you are an artist, the world needs your treasures!  I want you to be able to contribute your talent to the world.

So keep an eye on your profit, track every expense and your time as best you can, and KNOW how much you are really making.

Please, leave a comment below.  Let me know what challenges you’ve had to deal with on this topic, and if this has been helpful.

Maria  xxoo

.Similar Posts:

• The Price of Opportunity and Playing Art Banker
• Eight Things You Must Do When you Sell An Artwork
• How to Price Your Original Artworks

“Money is better than poverty, if only for financial reasons.”  Woody Allen

Being “ripped off”.  I really don’t like the negative sound of those words. But I’m compelled to write about it because it’s a topic that comes up again and again.

Yesterday an artist was in my office and she said that she’s been stiffed on payment too many times to mention.  It’s worn her down and she feels unappreciated.

Getting stiffed on payment is sadly one of the most common and frustrating things that can happen to freelancers.  It happens to artists, photographers, filmmakers,  web designers and just about every small business owner at  one time or another.

But it doesn’t have to ever happen to you (again).  It’s very simple to avoid.  You just have to do two things:

1.)     Require a deposit up front

2.)    Require the full balance at completion

The INSTANT you institute these two policies for your small business, you will NEVER have to make a collection call EVER again.

If it’s this simple, why do so many people continue to get “stiffed” on payment?

Because they don’t ask for the deposit up front and they hand over the goods before being paid.  It’s too bad that art school doesn’t teach you the importance of running your art venture like a business.

Here are some of the most common excuses I hear from people who keep getting ripped off:

• “I don’t have a business mind”
• “I’m new at this”
• “I need an agent to do this for me.”
• “I needed the work really bad – I was desperate.”

Handling your business wisely is a decision you make, not a gene that you’re born with!

Please trust me when I say that YOU DO NOT HAVE TO HAVE BEEN BORN WITH A BUSINESS MIND TO AVOID BEING RIPPED OFF!

You just have to institute your own payment policies.

I learned this the hard way when, many moons ago, Drew was “hired” by the large clothing company American Eagle.  They asked him to create a detailed artistic map of one of the Hawaiian Islands.  The art was going to be used for t-shirts and other accessories.

They were on a tight deadline and needed it yesterday.  There was no time to get a deposit.  Drew put in many hours drawing this up, and the art director at American Eagle kept making changes.

Their final change is what led to the non-payment:  They decided not to use a map after all.  We sent them a bill for the work done, and they never paid us.  Dealing with a company that large is nearly impossible to get payment from AFTER THE FACT.  That’s why we should have gotten money up front.

We were, by some standards, ripped off, taken advantage of and screwed over.

But I’m a firm believer that no-one can take advantage of you without your consent.

It was our own fault for not getting money up front before Drew put in many hours of work.

That was the LAST TIME we ever got stiffed on a commissioned job.  We learned from our mistake, and since then have required 50% up front and the balance when finished (before we hand the art over).

THE PSYCHOLOGY OF REQUIRING A DEPOSIT

Two important things happen when you say to your client:  “I’ll need 50% up front to start the work and the balance is due when the work is completed.”

1         You are viewed as professional:  Your client now sees you as a person who has payment policies in place.  They respect you, and they are clear on what you expect and how it’s going to go.

2         A commitment is formed: Your client is fully committed when they pay a deposit.

When someone pays a deposit towards something, they are making a commitment to the project.

It’s a psychological thing.  Without a deposit, there is no real commitment from your client.  It’s like buying plane tickets.  My trip to New Zealand last year was just talk until I plunked down the $1,800 for plane tickets.  Once that money was paid, it was a reality.  We were fully committed.

HOW MUCH OF A DEPOSIT SHOULD YOU ASK FOR?

Many artists require 50% up front.  The average, according to the Graphic Artists Guide to Ethical Pricing, is 30%.  I prefer the 50% and so does my bank account.

HOW DO YOU ASK FOR A DEPOSIT?

In every conversation I have with a new client, I mention, up front (even with friends and acquaintances and my mother’s uncle’s niece) that we need a deposit to get started.  (Hate to say it, but sometimes it’s the people closest to you that will stiff you).

You may feel strange asking for this.  Get over it, do it, and you’ll get used to it and eventually it won’t feel strange anymore.  Learning how to walk was strange also.  But you got used to it.

When giving a price quote, include your deposit requirement in writing by e-mail or proposal.  Here’s how ours looks in a price quote (I grabbed this from an actual proposal for a wakeboard design we did earlier this year):

PRICING:  Fee is $3,800.00.  A 50% deposit is required to start the work, and full balance upon completion.  OPTIONAL:  Original artwork may be purchased within 30 days of completion at a greatly discounted price of $3,500.  (Payments shall be made to Son of the Sea, Inc. PO Box 836, San Clemente, CA 92674.)

And here’s what we put in e-mails sent to clients with big projects, like murals:

We must have your signed proposal and deposit for the mural painting NO LATER THAN 2 weeks prior to the start date.  This allows us to get the materials we need at the pricing we configured for your quote.

Over time, your returning customers will know what you expect and they will be prepared to write you a check for the deposit.  All of our longtime customers are used to the way we work.  They also know that the work will get done to their satisfaction, because they’ve worked with us before.

RESISTANCE TO PAYING A DEPOSIT COMES FROM CLIENTS AND ARTISTS:

It’s not always the client feeling weird about a deposit.  Sometimes it’s the artist.  Here are some of the scenarios:

THE ARTIST DOESN’T REQUIRE IT BECAUSE THEY ARE DESPERATE FOR THE WORK:  If you are desperate for work, than you surely cannot afford to spend time on something that you’ll never get paid for.  A deposit weeds out the payers from the non-payers.  The people who most likely will never pay you are the ones who won’t give a deposit.  The people willing to give a deposit are the ones that are serious.  See how this works?!

THE CLIENT REFUSES TO PAY A DEPOSIT:  If a client won’t pay a deposit, they just aren’t ready to commit.  If that’s the case, than you shouldn’t commit your time to their project.

Don’t get mad.  Just let them know that you are happy to start the work after they pay.  Tell them to call you when they are ready.  Be friendly and professional.

THEY DON’T HAVE THE MONEY:  I’ve run into this many times:  When I tell someone that they have to pay a deposit, and then they say “Oh, I don’t have the money right now.”  This tells me that they may never have it.  So I say “When you do, let me know.  We are looking forward to working with you.”

YOU FEEL YOU HAVE TO PROVE YOURSELF BEFORE YOU CAN DEMAND A DEPOSIT:  If you’ve been at it for less than 2 years you may still have to prove yourself before you can require a 30% – 50% deposit.  Maybe the client isn’t sure of your abilities and they are nervous to trust you.  In this case, lower the amount you ask for to 20% instead.

YOUR CLIENT IS A HUGE 5 BILLION DOLLAR COMPANY AND THEY TAKE 3 WEEKS TO CUT CHECKS BUT NEED YOU TO FINISH IN 2 WEEKS:  I’ve been faced with this scenario a few times.  Here’s what I do:   I ask the client to write me a personal check and they can bill their company for it later.  Some people laugh at that, but the serious ones send me their personal check.

THEY FLAT OUT REFUSE:  If they just refuse to pay a deposit, than most likely you’ll never get paid, no matter what you do, because of a lack of commitment on their part.  So walk away.  You’ll save yourself a lot of wasted time and frustration.

IF YOU’VE BEEN A PROFESSIONAL AT YOUR TRADE FOR OVER FIVE YEARS:  You can STOP proving yourself.  No one should question you at this point.  You have good references that the client can call if they doubt your abilities.

EXCEPTIONS TO THE RULES:  Of course, there are exceptions to every rule.  We made an exception when we did a deal with Converse - Drew started the work before we got our deposit.  They took 6 weeks to cut us a check.  But we have a good relationship with our people there, and I knew they would take care of us.  I very rarely make the exception, because of being burned in the past.

LEARN FROM YOUR MISTAKES

If you’ve been “ripped off” more than a couple times, than you need to look in the mirror and ask yourself what you’re doing to cause this.  Analyze what’s happening – are you keeping your end of the bargain?  Do you meet your deadlines?  Are you a joy to work with?  Do you behave like a professional?  It’s important to learn from our mistakes and then change the way we do things if something isn’t working.

I read somewhere once that the definition of crazy person is:  Someone who keeps doing the same thing over and over again but expecting a different result!

SIMPLE RULES FOR PRICING:

If you follow these simple guidelines, you’ll never have a problem getting paid:

Put your price quote in writing (e-mail is fine) – this way there are no surprises on either end.  Give your quote leeway to add to it in the event that the scope of the work changes.  (We do this by adding this sentence:  In the event of unforeseen additional work due to conditions on surface or changes to the design by the client that may require extra labor or detail, this price could change.)

Have a payment policy and include that in your price quote (i.e. 50% down and balance due at completion)

Put a 30 day limit on your price quote – your situation could change or your materials costs can go up.  On my proposals I’ll put:  Proposal Date May 27, 2010.  Proposal valid for 30 days

Don’t begin the work without a commitment from your client in the form of a deposit

Send your client frequent updates of the progress of the work, along with photos of the progression.  This will give your client satisfaction knowing that you are working on it and that it’s getting done.

When it’s finished, send them a photo of the completed work and arrange to get final payment at the same time you hand over the goods.

I sincerely hope this article convinces all of you out there to institute your own policies.  Even if you are a part-time freelance artist or photographer, you are in business.  Your time is valuable.  You should be paid for your work.

Please, in the comments below, let me know what problems you’ve had on this subject and how you’ve dealt with it!

Maria xxoo

.Similar Posts:

• How to Price a Wall Mural – Developing a Price Sheet and Proposal
• Fear Giving a Price Quote? The art of the Deal Memo
• Painting a Wall Mural: Ten Ways to Please Your Client

Photo (c) Rebekka Guðleifsdóttir

“It’s easy to be against something that you’re afraid of.   And it’s easy to be afraid of something that you don’t understand.”  Seth Godin

There’s one thing that I learned from bestselling author Seth Godin’s new book titled LINCHPIN: Are you Indispensible?

It’s that I’ve been on the right track by always being on the wrong track.

Definition of Linchpin: A linchpin is somebody who is indispensable, who cannot be replaced—their role is just far too unique and valuable.

And I would add:  Someone who thinks and acts apart from the crowd.

There’s a path that’s taught here in Western society by our parents, churches and schools.  If we are to fit in and be accepted, we must follow this path:

• Go to College
• Get a Job
• Get Married
• Buy a House
• Have 2.1 Children
• Retire
• Take a Vacation
• Die

On my day of birth many years ago, I sidestepped that path at the entrance.  It didn’t look inviting.   I thought it was stupid to get married right when you’re having fun in your 20’s.  And having children young would put a damper on my backpacking trips to Europe.

I quit college when I realized that I was making more money than my friends with Masters Degrees and big college loans to payoff.  And instead of taking one big vacation in my golden years, I’ll be taking an adventurous trip overseas every year until I die.  (Why wait  to surf the waves of Bali when in your 70’s?  Do it when you’re young!)

Most of my life I’ve felt like a triangle trying to fit into the cog-hole of every job that I had.  Take for example the insurance industry where I worked for 15 of my adult years.  The men I worked with were dolts who couldn’t think for themselves.  And nothing pissed them off more than to have a woman come up with ideas that sounded smarter than their own.  I’d come up with an innovative idea that was sure to be a step forward for the company, bring it up in a meeting, and six people would tell me why it couldn’t be done and three would give me dirty looks when the boss attempted diplomacy by suggesting that we TRY the idea.  But it always fizzled out.  No one wanted to change anything, because that meant they would have to actually work.

Eventually, after being stomped on so many times, I stopped sharing my ideas there.  And I started dreaming up plans of my own, in the business of art, and I quit my lucrative but soul-less position in the insurance industry.

It was scary leaving that comfy job and steady paycheck for uncertainty and hard work!  But, the trade-off is that I get to take my crazy ideas and run with them.  I work hard but it’s not really “work” if you love it, right?  I traded the cubicle for freedom to travel several months every year, to take on projects that I love (like writing this blog) and I can pick up my son from school every day.  The best part:  my husband and I work together and everything we do we benefit 100% from our hard work, rather than handing it over to someone else.

In LINCHPIN Seth Godin talks up the glory of setting yourself apart from the crowd by doing things your own way, and in that sense, by making yourself indispensible.  But, you might get a lot of criticism for it.

Most of the systems in our society are set up to reward the sheep and punish the maverick. If you do what you’re told in school, college and the office, you’ll fit in and be rewarded.  If you fall out and try to be different, you’re punished. I never saw that more than in the cubicles of the last company I had a “real job” with.  The sheep had the job security, and I was just a trouble maker.

However, in this current time, the tables are turning.  The sheep are being fired and the mavericks are finding success. Seth claims that to not be a linchpin these days is economic and career suicide.

Many sheeples are being blindsided, because all those who followed the rules are now seeing it bite them in the ass.

There is much more to Seth’s book, which covers things like the Lizard Brain which holds us back from accomplishing things because of feeling fear, and what he calls Shipping (getting things completed).

I found a great review and summary of the book on www.squaredpeg.com .  If you read it, you probably don’t have to buy the book, because the review is so thorough!

If you find that you don’t fit into cliques and groups and structured societies, then feel good about yourself.  You are probably a Linchpin and don’t even know it.  Most of my readers are!

PHOTO CREDIT:  This photographer, Rebekka Guoleifsdottir, is without a doubt, a Linchpin.  Her photos are amazing, and just the freshest display of fearless creativity.

Maria xxooSimilar Posts:

• What You Do is Your Art
• Maverick Vs. Being Part of a Clique
• ARE YOU A SHEEP OR A WOLF – ANOTHER CHOICE YOU MAKE

Are you just selling your work, or are you making a contribution?

There’s a difference between the two, but only in your mind.

You can be really great at singing or writing or photography, but if you don’t make your talent available to the world, than you’re depriving mankind of it.

The way that you share your talent is by making it available to others.  This is done through sales.

You sell your screenplay to a production company, you sell your paintings to a collector and you sell your sculpture to a city.

Some of us cringe at the word “selling” as though it’s dirty.  Just the thought of the act of selling can take the art out of ART.  It goes hand in hand with the business of art – it doesn’t come naturally to creative people.

But what if we look at SELLING in a different way?

What if we SHIFT our thinking and instead of calling it “selling” we call it “making a contribution?”

Let me explain.

The word “selling” conjures up images of a pesky person going door to door trying to sell something that someone doesn’t want.  It brings up fears of rejection and the worry of becoming a nuisance and the unpleasant thought of shoving your ideas down someone else’s throat.

But what if you are solving someone’s problem with your talent?

Here are a few examples:

The City of Redondo Beach wants a tribute to surfing that will draw tourist to their town.  A sculptor proposes (sells the idea of) a large bronze statue of a famous surfer.  The sculptor creates a beautiful piece of art for the community and makes the city look good.

A painter hesitantly calls on an interior designer asking to show her landscape paintings.  The interior designer is delighted, because it’s just what she’s been looking for.

You wrote a book that shows how to easily make mosaic tables from scrap materials.  There are thousands of people in the world that would love to learn this, and now you’ve given them a tool that makes it easy.  Thanks to you, they now enjoy the art of mosaics, too.

You could look at this in another way – the sculptor went to several cities with his idea.  It didn’t work for all, but for Redondo Beach, it was a huge problem solver.  The painter called on many interior designers.  Not all of them were looking for landscapes, but one of them needed it badly.

Think about where we would be if Thomas Edison didn’t share his light bulb invention and instead kept it to himself.  We’d still be reading by candlelight, or worse, by the glow of our cell phones.

Where would we be in society if artists didn’t share their creations with anyone but themselves:  Do you realize that every single product we enjoy, from clothing to food to furniture, would be boring, plain and downright ordinary? There would be no music to listen to.  There would be no plays or movies to watch.  The world would be just bland.

Every musician that you listen to had to sell someone on their talent so that eventually albums could be made and sold for you to buy.  Every screenplay writer had to sell their writing to an executive before we were able to watch their brilliance in a film.  Every single piece of artwork that we see on every product imaginable had to be sold first.

I’m going to go out on a limb here and say that there is no such thing as selling when it comes to art.

There’s only the making of a contribution.  If someone needs what you have than you are making an important contribution to that person.  And that’s something to feel good about.

The next time you are nervous about selling your art, remember this:  someone needs it.  You are solving that need.  Now go out into the world and make a contribution with your creations!

Maria xxoo

PS:  Please comment on this article – I’d love to hear what your thoughts are on selling vs. making a contribution!Similar Posts:

• Commit to your Craft
• Why Artists Should (Not) Be Paid for Their Artwork
• ARE YOU A SHEEP OR A WOLF – ANOTHER CHOICE YOU MAKE

“The greatest barrier to success is the fear of failure.” Sven Goren Eriksson

Have you ever turned down a great opportunity because you were scared that you’d be taken advantage of?  Or you were afraid that you would agree to something that you later would regret?

There’s a fun term that I read in WATERSHIP DOWN many years ago called “state of tharn” and it is used to reference that irrational “deer in the headlights” mentality that rabbits tend to go into when they are scared.  When faced with a terrifying, life threatening (or perceived  threat), the furry rabbits just stand there, frozen in time.  They don’t move, even if it means they’ll be killed.   The actual meaning of “tharn” is:  stupefied, distraught, hypnotized with fear.

Humans go into a state of tharn also.  But usually it’s more of a philosophical state of mind than a physical one. Such as when you fall into the trap of watching a really great deal pass you by like a slow moving train, all because you never returned the phone call to the person making you the offer.  And the reason you didn’t call him back; because you were in a state of tharn.  You didn’t know what to charge and you weren’t sure how to put the deal together.

You weren’t sure what you should do, so you did nothing.  And so nothing happened.  To you.  Or for you.

Every great deal that’s ever gone down in history didn’t have a template to follow.  It’s really just a matter of two parties of people getting together and working out an agreement that benefits everyone concerned.  In all of the hundreds of deals I’ve made over the years, each one was different.  Sure, many had similar features, but just like snowflakes, no two deals are ever alike.

When you are offered a great opportunity, but you aren’t sure what to charge, what to ask for, and what’s right and fair to agree to, consider these factors:

• Relax:  Don’t wig out over the details like a teenage girl in love.  Take your time and figure it out.  Feel excitement and gratitude for what this new opportunity is bringing to you, and create a way to make it work.
• Determine exactly what your client is asking for: Sometimes people can be vague.  You need specifics. How many, what color, deadline date, what do they expect from you, what are they offering to you in return, etc.  Get information from them via e-mail so you can refer back to their written requirements when putting together your proposal.  (Or take very good notes.)
• Ask a lot of questions: Often we are afraid to ask questions for fear of sounding stupid.  It’s actually the opposite.  It’s stupid not to ask.  Throw out many questions, and then repeat what you thought you heard to confirm that you heard it.  “Oh, you’d like for me to send you ten of my original paintings and you’ll show and sell them in three different galleries in France, is that right?” and “Who will be responsible to pay for the shipping both ways?”  It’s crucial to know exactly what is expected of you and what they plan to be responsible for.
• Do your Research: Look online for information by others who may have been involved in a similar situation.  Also, call and ask people you know if they’ve ever had experience with this sort of thing.  Find out what the pros and cons are.
• When determining payment: If you aren’t sure what the going rate is, call others and ask them what they have charged for the same type of work.  If you are active on Twitter, you’d be amazed at how helpful Twitterers are when asked a question.
• When Quoting a price: Don’t quote a price or even give a guess until you’ve done all your research, you have all details on the material, travel, attorney and other costs that may be involved.  When you do give a price quote, place a time limit on it.  I use 30 days from the date of the quote.  That way they can’t come back a year later with the same quote when material prices have gone up, or my prices have increased.
• Don’t Let Fear Hold you Back: Often we let opportunities pass us by because we are afraid of the risk involved.   Don’t be scared – make your decisions based on your logical research and move forward.
• Put it in Writing: This is important so that all parties involved know what they are agreeing to.  It’s helpful to have something in writing to refer to later should there be confusion on what was promised.
• Use an Attorney: If it’s a rather large deal which involves large sums of money or contracts with companies that have their own legal department, you must hire an attorney to look over your agreement.  Sorry, but it’s foolish not to.
• Remain Professional: Throughout the process, behave like a professional.  Be upfront with your client, let them know where you’re at on this, and have open and frank discussions.

If, after all of your research and negotiations, you find that the deal isn’t worth it because it’s going to cost you more than you’ll get in return or it will ultimately be a time-waster for you, than politely back out of it.

But, if it’s something that you’ll enjoy, gain and grow from, than just go for it.  Don’t let fear hold you back. The worst that can happen is not really that bad.  Use your head, but don’t be scared to take on an exciting new opportunity.

Break out of that irrational “state of tharn” and jump in with both feet!

The greater the risk you take, the greater the rewards you’ll get.

Maria xxoo

PS:  The Business of Art can be a roller coaster ride, but a most thrilling one!  If there’s anything I can help you with, please email me or write your question in the comments.  I’d love to help.  Thanks for reading!Similar Posts:

• Fear Giving a Price Quote? The art of the Deal Memo
• The Artists Pain: Quoting and Negotiating Prices (A.K.A. the “BRO Deal”)
• Three Reasons Artists Would Need to use A Contract

Palisades Skateboard/Drew Brophy License

Hooking up with the right manufacturer to license your artwork is a little bit like looking for the right mate.  It requires a little research and vetting on your end.

Much like finding that special sexy someone that you want to wake up next to everyday, there are things that you need to know about your potential licensee.  Things like their values, principles, and plans for the future.  And do they line up with yours?

Just like a devout Christian should never marry an Atheist, unless they want some serious drama in their life, you shouldn’t do a deal with a company that has radically different ideas about what’s cool to do with your artwork, unless you want some serious drama in your life.

To be more specific, if they want to print your art on cheap-ass tees and sell them at the $2.00 store, and you had visions of having top quality $75 tees sold in boutiques, well, then you’ve got a mis-match.

In the case of our Drew Brophy / Palisades co-branded Skateboard line, before closing the deal we had many meetings with our contacts Brad, Kurt and Heidi to talk about our plans for the future of the line, where we wanted them sold, and how we could make them look just awesome.  In the end, we  were all in agreement as to distribution (core surf, skate and sports shops), what the art will look like and the quality of the deck (awesome).

In the beginning stages of  your discussions with a potential licensee, whether it’s on the phone or in person, you’ll want to have a get-to-know you conversation.  Much like dating, this first meeting will help you to determine if you share the same values and goals with the license.

Before that first meeting, be sure that you are familiar with the company, their history and the names of the top people that work there.  This is easy information to get with a simple search on Google. You should also know what all of their products are and determine in advance which ones you think will work well with your artwork.

Be prepared to ask ten very important questions which will not only make you seem like you’ve done this before, but it will also help to determine if your artwork and brand is a good fit with the company you’re talking to.

The first nine of the topics listed below will be specified in the licensing contract, so asking the questions in your initial conversations will be a step in the right direction to make sure that both parties want the same things.

And being sure that you both want the same thing is the key to a good relationship (just like marriage)!

Ten Questions to Ask Before Hooking Up with a Licensee:

1.)     What are your distribution channels? (Translated:  where are your products sold?)

Distribution Channels can be broken down in this way:

Specialty:  Includes boutiques and specific shops that cater to a particular lifestyle such as surf, skate, snow, fishing, dive, etc.

Upper Tier:  High end department stores (i.e. Saks)

Mid tier:  Middle end department stores (i.e. Penney’s)

Lower Tier:  Target

Mass Market:  Wal-Mart, K-Mart, Costco

Other:  Catalogs, direct mail, online, televised shopping

You want to know where they sell their stuff because if it’s to Wal-Mart and you don’t want your art sold there, then cancel the engagement!

2.)    Who are your top 5 retail accounts?

3.)    What other licenses are you currently working with?

(If they haven’t licensed before, it can be a little problematic getting reports on time and accurate.  If they have, get the names and contact the licensors for a reference.)

4.)    Territory in which you distribute: Territory is named by country or region, such as North America, or they may sell worldwide.

5.)    Product Categories you wish to use the art for.  (i.e. t-shirts, hooded sweatshirts, tea cups…)

6.)    How many will be in the first print run – how many of each product type will you roll out initially?

7.)    Estimate of sales projections the first year?  The second year?  The third year?

Don’t hold them to these estimates, it just gives you an idea of how much they think they can sell.

8.)    Which images are you interested in? Go through your website or portfolio and get a feel for which will work best with their products.

9.)    What is the projected date that the product will be delivered to retailers?

10.) Provide me with one sample of each product that we will produce. (Usually I’ll ask that the company mails me a sample of each so that we can see the quality of what they currently produce before moving forward.)

It’s important that you get a good picture of how the products bearing your artwork will be sold, in which stores, and when.

Be confident in asking these questions, because it’s your artwork and it’s your future.  You are in charge of what happens to both.

Here are a few other articles on this topic that will help you:

HELP – A COMPANY WANTS TO LICENSE MY ART

LICENSING YOUR ART TO A SKATEBOARD OR ANY OTHER COMPANY

WORK SMARTER NOT HARDER  - LICENSING 101

THE MAKING OF A GOOD LICENSING AGREEMENT

Maria xxoo

Was this post helpful to you?  Please, SUBSCRIBE to my e-mail feeds by putting your e-mail address in the white box below.  You’ll get my posts in your in-box and you won’t miss anything!  And if you comment below, I’ll put you in  my Will!Similar Posts:

• LICENSING YOUR ART TO A SKATEBOARD COMPANY (Or any Company)
• Art Licensing 101 Lecture RECAP
• The Making of a Good Art Licensing Agreement