The Perfect Book

My little brother bought this great little book of the internet, entitled The Perfect Bait. He’s studying animation, and loves to draw comics. He recommended I read it because he thought it was the best he’s read so far. In fact, this book is the ‘you can make it’ guide book and is so much more interesting than the ‘how will you pay the bills’ serenade. I thank my lil’bro for being so great to me by sharing his new found knowledge, which, in turn, I want to share with you. I strongly recommend you read this little jewel of a book, if you are a painter, a writer, a musician or any kind of artist.

The author of The Perfect Bait, Bobby Chiu, is a reknowned artist who has worked on many films and has initiated many artistic initiatives. His 75 page book is a no brainer. It comes with a little pep talk and a simple plan elaboration: 1) practice and hard work, 2) motivation, 3) get your art out there, 4) financial security and 5) finding and keeping your clients.

And how important are those 5 steps Chiu states !  You might want to catch on to his version of financial security and how to keep collectors interested (obviously the two last chapters of the book). These really had me thinking. His ideas are simple, yet clear, and to an extent obvious to anyone slighty interested in commerce and marketing of art. However, to be reassured I was on the right track and to see that the process is this simple is a great push to my motivation.  It got me officially started on the third step: getting my art out there.  

The great thing about animators and other ‘commercial’ ( this has no discriminating undertone to it, by the way, but for the sake of clarity, we need to use ‘the C word’ here – why is ‘commercial’ such a bad word in the field of  fine arts, anyway?) artists such as designers is their trade implies a business aspect  whereas fine art painters are often thought of as the clichéed excentric individual and indifferent to making money. At least, as I’ve said before, this romantic idea of art for art’s sake has followed me a long time until I realized we are not different from designers, but just have a different audience. Designers always made beautiful things too, there is no question about it. Therefore, their experience is often the best tool to adapt to our practice. This is as if you wanted to sell trucks, but learned the trade with a car salesman. This seems logical, doesn’t it?

Vernissage and Opportunities

One of the things I love about art is how it brings people together.  As an artist, you also meet lots of interesting people, namely other artists, especially when you are the one showing. A vernissage is a great opportunity. I met great individuals at my last show, many of them, emerging artists, like me.

Because it was part of our building’s open door event, we had to organize the vernissage and the show. The fun thing about this is you can then use this opportunity to your best advantage on all levels, which might not be the case in a gallery.

My studiomate is an expert of vernissages. She has got it down to an art. Here is her kit: a printed portfolio, business cards, a golden book, blank receipts, a smile and a quick little discussion about your artist statement.

The portfolio will show potential buyers the works of art which are not part of the show you are having a vernissage for. You will then have a chance, if they are willing, to set a later date to show them a particular piece if you don’t have it at hand. This is where the business cards comme in handy; instead of running around for a pen, you slip a card in their hand ( of course, you may hand them out to anyone who wants one also). If you do have the piece nearby, take it out. It might end up in a sale... and don’t be shy; timidity never sold a painting.

The golden book has a double purpose. First,  visitors can write down their impressions. Needless to say visitors who don’t like your work won’t bother. You are assured of having that little encouragement you sometimes need from strangers when you get doubtful, because it inevitably happens. Also, you may invite visitors to leave their email adresses for future newsletters. Politely asked, most people won’t be offended, and will politely decline if they are not interested. This is a crucial part of your network development; you absolutely need to get out of your circle to find potencial buyers, because your family and friends won’t be buying your art forever.  Only send emails to individuals who have given you permission. Make sure you mention in every newsletter you send that the recepient may unsuscribe from your sending list. Not only will you be better considered, it is also part of what internet users call ‘netiquette’ ( You will find many posts and references on the internet concerning this topic. I encourage you to read about this if you’re thinking about using the internet as a part of your marketing strategy) . If anyone asks to be removed from your list, please do so as promptly as possible.

Blank receipts have to be in your studio at all times. You never know when you will sell a piece, and you need to be able to produce a receipt, especially for larger pieces. Some buyers are investors; the receipt, as their proof of purchase, is very valuable to them.  Also have whatever legal papers you think you need: contracts, authenticity certificates... It really is up to you, but the more written material you have, th better it usually is, even though the receipt is really the only absolute necessity.

The list of works will help you keep track of what you sold, the dimensions, for how much, and when. This is basic data you really want to keep.

Your smile will say a lot about you to visitors. Potencial buyers like nice people, it’s no surprise. With your smile, you will get visitors interested in your artist statement when you start to describe what you do. In other words, you will be sharing your passion. I think this is the best part of all.

Oh, yeah, the new dress I got for the vernissage was a lot of fun too!

Money in the Piggy

You’re scared of a politician’s face printed on paper?  

First things first,  my conception of money is as follows: it is a tool. Simply. It is a tool which simplifies the process of exchange in between two parties in a business transaction.We invented it the same way we invented the hammer. You may think I am simplifying too much, but this blog is not about world politics and finance, it is about how you, as an artist, can make it in the art world.  And so, this is the only concept you need to consider.

Once you acknowledge your knew tool, you have to know how to use it properly, which goggles to wear and what are it’s accessories. I am often looked at in a bizarre way when I say I rent a studio. Some people can’t figure out how I can afford it. Well, that’s all part of artsy living’s choices!

This series  will be about how to make the most out of your money, as much or as little as you may have.  This won’t be a cut-a-coupon-save-a-buck section. Those are all over the Internet. I will do a survey of some money savings tips, because it is inevitable, but this won’t be the core of this blog.  Here again, the secret is to think it through, and choose the things you think are relevant to your situation.

Selling your work

Stay tuned for these other posts 

The Costco effect

Needs, needles and desires

Hot cooking

Love of the Trade

Socialite

Honey and Sweetness

It's that time of year again

Full-time fun and transferable skills

I think most of us are scared of really plunging into art because we are afraid we will have to sacrifice too much of our lives to have this little glimpse of success. Some artists, and I have to admit I myself thought that way 2 years ago, think that to be an artists and really strive, you need to do it full time. If you don’t, it’s just too hard. Most of us are afraid of quitting their full-time job for the uncertain, wreackless and unforgiving world of art making. But that’s just a philosophy issue.

As a painter, one of my greatest sources of frustration was to have a 'to-pay-the-rent' job. Because it is necessary to have one for many good reasons, until you can live of your art, you need to find a job which fulfills at least one of the following: learning skills relevant to your dream or fulfilling another passion. This is important as much for your sanity as for time management.

I was very nervous when I graduated from art school. I went to Italy as my last course, and I think that lurking “will I make it” idea was already making it's way to my prefrontal cortex. It drove me nuts. I really loved everything I saw out in Italy; it is beautiful, and so astonishingly inspiring. But to me it also was a sort of end point, and I dreaded to come back home as much as I missed it. When I came back, I hit a wall and almost let go, I have to admit. I did as everyone seemed to do: I found a lucrative job which didn't need any special qualification. I survived a year, painting here and there, with a sweet and sour aftertaste in my mouth. How great was it to paint, but how awful was it to have to go back to this repetive, boring, soul killing job? And for what? The rent? Yes, it was for the rent. It seemed I lived only to afford that roof over my head. I wasn’t unhappy, but I wasn’t happy either; I was bored. My frustration came from the job itself, and not the fact I was loosing important paint time. I couldn't find meaning in this job I had, and thus, my motivation at all levels was suffering. That is what a 'to-pay-the-rent' job is; having to spend so much of your life doing something that brings you no gratification. If you find a job in which you feel you are evolving in some way or in which you are happy, you won't feel like your 40 hrs of work are a waste. After looking for better employment, I ended up in this small office with great collegues. This completely changed my world. I still have a full time job, and you know what? I don’t want to stop.

When you choose your job, no written law says you need to hate it or not earn something more than your salary. You will be spending so much time there that you need to find the intrinsic motivation 

( this will be discussed in another post) to what you are doing, whatever it is, and of course, do something that will bonify your competencies as an artist. You don't need to work in a museum. You can find a job which requires you to develop some aptitudes or knowledge which you can transpose into your art career. This is what we call transferable skills. Personaly, my present job requires I write a lot and assist in project management.

I’m really learning how to write calls for proposals and how to plan and implement long term projects. This last thing is a major benefit. It also confirmed my entrepreneur personality. A painting is a short-term project, an exhibit is a mid-term project and an art career is a long-term one. Acquiring these skills elsewhere makes it easier to project into the future and planning my art career. The more I learn, the more the wall disapears, and I realize all I was missing was really the method to cross it.

Artist are not free souls with no specific training. They are versatile individuals. The set of competencies you need to be an artist, professionaly anyway, can go on for pages and pages : creativity, problem solving, planning skills, accounting skills, marketing skills, social skills, writing skills... Artists need to think organically as well as plain rationally.

One of my teachers in college, I’m not sure which one, said that Picasso was not a great artist, but merely a great businessman and market analyst. Apparently, everytime his career was in a lull he would come up with a daring concept to shock spectators thus renewing his notoriety.

How about taking a few seconds to assess your own bagage:

-What skills have you acquired in past employment? How do they serve you now?
-What skills is your present job teaching you? How does this serve you?
-What skills do you yet have to achieve? Where could you achieve them?

The triangle

All of us have had this conversation:

‘Mom, I want to do Art in college.’

‘But, honey, wouldn’t you rather be a dentist?’

‘No, I want to draw and paint.’

‘But how will you pay the bills?’

I was lucky enough to know it was going on in my parents mind, but never really had the conversation: they said I should do what made me happy.  I have had my lot of weird glances from other people, though,  for responding ‘Art Degree’ to anyone asking what I was doing in college.  ‘‘ BFA? Wow! That’s amazing! But how will you get a job?’’  I heard that last one thousands of times.  My own grandmother, who did Art School in the 40s, always told me all artists die poor.

This frustrated me to the highest level, and as long as I can remember, I have had that ‘I’ll show you!’ subconscious reaction which translated into peaks of emotion  in my chest, as if my heart wanted to pull out and scream:   ‘‘ You are SO wrong! ’’ .

Art is a calling, the same way being a doctor or a research biologist is.  We don’t do it for the money, and that is that. We should be saying to all who doubt what we do to go on with their lives and stop worrying about us. 

If I have learned something over the last 2 years (yeah, it’s been this long since I graduated), it’s that you need to find balance. This balance is fragile yet achievable.  This is what I call artsy living; it is the series of choices or ways of life you take on to make your dream accessible.

Let’s start with the basics and be overly intellectual about this.

An art career, and by extension artsy living,  can be summarized into a triangle, as many things in life can.  Just like fire needs oxygen, something to consume and heat to burn,  to successfully persue an art career, you need three things:

Take one away, and away goes this wonderful dream of yours. 

The first thing I will add is that the cash mention does not mean you need to be rich or marry for the money; it merely means you need to be sheltered, fed, clothed, and sometimes go out with friend to enjoy what you have and their company. Basically, you need the kind of money that will keep you HEALTHY, mentally and physically.  You could refer yourself to the Maslow hierachy of needs ( yet another triangle) to illustrate my point : http://en.wikipedia.org/wiki/Maslow's_hierarchy_of_needs.

The cash, to me, takes care of the two first levels, and permits the third. A little money permits you to  go out with your friends every once in a while and enjoy it, which will not be the case if you are hungry ( if you are like me you’ll probably spend the extra money to buy a piece of clothing for your niece, which she absolutely does not need). Wether you like it or not, you need to see your family. Personaly, it costs me 20 dollars to go back to my hometown. I need these 20 dollars.  After the social needs, in Maslow's triangle, comes self-esteem, which is crucial for any entrepreneur, and on the last level, creativity. It is common knowledge you have to get your basic needs out of the way if you want to start creating, wether you are an artist or not.

I have an appartment I love and a studio I rent monthly, I  eat very well and I am not rich. I simply have tricks and make choices ( which I will discuss in other posts) to enable me to have a creative space and fill this need I have to draw and paint.  

The second point is time. Time to create, time to breathe, the time spent at work, the time you need to take care of yourself and others, boyfriend or girlfriend  time (if you're in a couple)... So many things and so little time. I always said days should have 48 hours. Then again, we’d want 72. Time management is a big issue for artists; many blogs and books are available to you to find that perfect balance between your passion and your everyday obligations. However, they are not all effective.

The third ( but far from least) element  is really hard work. It’s no secret. Artists who make it are the tough ones. Remember that.