Pricing Paintings

To figure out a paintings price often evolves a large number of factors to people. The time involved with it’s creation, the amount and types of paint used, the support and materials, the paintings size, just to name a few. I however, like to use a simplified formula that works very well for smaller paintings. I take the supports rounded length (L) and width (W) and multiply them together to get the total squared inches of the painting. I then take this number and multiply it by my price per square inch (P/Sq In) to get my final price for the painting without a frame.

To represent it more mathematically: L*W*P/Sq In = Final Price

If a frame is included I will add it’s cost to the final price and a 10% fee for the materials and time involved with inserting the painting properly. (Backing board and framing points, etc.) It’s also not uncommon to double the price for the frame to recoup your charges. That would essentially place the frame at suggested retail a majority of the time but I don’t currently feel the need to do so.

I’ve found this works really well and adds a much needed consistency to my pricing. Before adopting this formula of standard pricing I struggled with what to charge. Now I do a flat rate of 1.00 USD per square inch of the painting. When I become more popular and when the prices of painting materials rise I can simple alter that one number and get an accurate change in pricing. This is both a positive for my inventory purposes, and for buyers wondering what will change with time.

From the 1860’s:

Impressionism threw out the narrative
The Cubists threw out the form
The Expressionists threw out the subject
The Minimalists threw out the paint
The Pomo’s threw out the artwork.
And the Whitney has thrown out the artist.

Thanks to Graydon Parrish over at rational painting for this lovely quote

The Deskilling of Painting

After reading one of my usual spots today, I came across an interesting new term, deskilling. Here’s what it means:

Deskilling (From Wikipedia): The process by which skilled labor within an industry or economy is eliminated by the introduction of technologies operated by semiskilled or unskilled workers. Work is fragmented, and individuals lose the integrated skills and comprehensive knowledge of the crafts persons.

The original meaning of the word was strictly meant for industrial work, as the Wiki example states: “CNC machine tools replacing machinists and assembly line workers replacing artisans and craftsmen.” That last little portion, “artisans and craftsmen” is what got me to thinking.

The skills of painters in the past have been set aside, by a belief that a well and correctly constructed painting is no longer necessary. The contemporary artist, putting aside the past, feels that unlike every other single aspect of life, that the rules and skills of their craft are unneeded, undesirable, and limiting. Art has become a cheap thrill, meant to promote, shock, or instigate. Want to paint with motor oil? No problem, just make sure to light it aflame and talk about the transience of existence.

Deskilling also perfectly illustrates how artists have lost their technical skills, we have allowed ourselves to do whatever we want, not because of some higher ‘art’, but rather because we lack the ability, and the ambition, to learn our craft correctly. This is furthered by art critics, for example:

I don’t look for skill in art; I look for originality, surprise, obsession, energy, experimentation, something visionary, and a willingness to embarrass oneself in public. Skill has nothing to do with technical proficiency; it has to do with being flexible and creative. I’m interested in people who rethink skill, who redefine or reimagine it: an engineer, say, who builds rockets from rocks.

Jerry Saltz

While I understand his want, I do not agree that technical proficiency should be removed from the equation. I, unlike Mr. Saltz, would not like an engineer who built rockets from rocks. For no matter how innovative and shocking it may be, an engineer has no desire to build rockets from rocks. They are well aware of their limits, tools, materials, and skills required for the job at hand. An engineer that is not ends up with the “Big Dig.”

 

Writing an Artists Statement

After searching around a great deal across the web I have come into some basic information in developing an artists statement. Most importantly, Write your statement in understandable language, no “artspeak”! Also make it personal, first person writing I, me, my.

An artists statement should be no longer than one page. How often do you read a huge chuck of text? Most people are simply overloaded by large statements and thus overlook or only skim them. You want to draw a reader in further, not drive them away.

Right along with the page limit comes a paragraph limit. No more than three to five paragraphs. Much more than five paragraphs will easily go over a page in length. Fewer that three paragraphs in an artists statement is showing that you have not put enough thought into your writing or that your art has little to say. Three to five paragraphs is plenty to touch on all that you should.

What should you write about in an artists statement? An artists statement should provide basic information that is important to your work and viewers. Items such as why you make your art, how you make your art, your thought process, what mediums you use and what your art means to you. If there are any commonly asked questions about your art you can also include answers in yor artists statement.

Another great resource I keep running across is Molly Gordon’s site. The little free section she has on writing an artists statement has been a help to me. It’s got some great ideas for sparking your imagination.
Here’s an excerpt from the article:

“Our words ‘author’ and ‘authority’ come from the Latin root ‘augere,’ which means ‘to increase, to create, to promote.’ This implies that the notions of creation and promotion are compatible! The more I muse on the meaning of working from my authority, of being the author of my work and of my conduct, the more I understand that authentic communication about my work is a powerful tool for creative growth as well as for business success.”

Release and Consent form

I feel this is an important document for all artists, a release and consent form is required for all people that you paint. Portrait commissions, relatives, and friends are no exception. It’s also important that you get one signed right away, before any work is done. I suggest mentioning that you’ll need one signed during your recruitment process as it will quickly weed out those unwilling to do so.

Here’s the one I’ve used in the past (someone else wrote it and I do not have the reference):

 

Release and Consent

I [name of model/sitter], for good and valuable consideration, receipt of which is hereby acknowledged, consent for all purposes to the reproduction and/or use of photographs, video and/or artistic rendering of me and/or information I have provided during interviews, with or without the use of my name, by artists and/or agents of [your name goes here] or by any periodical or other publication in all forms and media and in all manners, including advertising, trade, display, editorial art and exhibition. In giving this consent I release [your name goes here] from liability for any violation of any personal or proprietary right I may have in connection with such reproduction or use. I am more than eighteen years of age, or the parent or legal guardian if the model named herein is under eighteen years of age.

Print Name________________ Signature ________________ Date___________

Print Name________________ Signature ________________ Date___________

While you may think that something like this is ridiculous you should also note that people’s opinions and emotions often get the better of them, and because of this you don’t want to create a situation that could cause you to loose your work or be sued for any reason.

For instance, after you’ve used a portrait of a client whose title is their name in a magazine publication, they decide they would rather not have name or likeness in a magazine because they have been charged with a crime. Because of the release, you are safe from possible action on the clients part due to failure to seek permission for using the persons identity and name in the publication.

There are of course times when you won’t be able to get someone to sign a release, at times like this it’s best not to work with them and find someone else. There are many willing models that are more than reasonable and understand why a release is needed.

In relation to this I also suggest you stay far away from reproducing copyrighted characters (such as Disney), others photographs, or digital renderings (unless granted permission), or sports figures (unless you have the required agreement and documentation with their league). I have known of artists who have not heeded this advice and have had to destroy their work or face legal action. It’s both frightening and saddening.

Artists need to cover their butts just like every other profession where people are involved. Please take the time to do so, for all our sakes.