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This month we will conclude our series of discussions
concerning the pros and cons of the private commission.
Although privately commissioned works of art can be an attractive means to
supplement one's income, they are not for everyone. You, the artist, must
decide if you are suited, temperamentally, and in other ways, to pursue this
particular line of work.
For those of you who are prepared to deal directly with clients (as opposed
to selling exclusively through a gallery or private agent), a few guidelines are
now in order.
If a would-be customer approaches you regarding a commission, it would be
fair to assume that he/she is already familiar in a positive way with your work. This gives you a decided advantage with which to begin.
Most clients will
want you to execute the commission in your own style, thus giving you a second
advantage.
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A
completed "Still Life Commission"
by Robert K.
Roark
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Once the size of the painting has been determined (don't forget to include
the frame when measuring for a size), you may then proceed to subject matter.
The possibilities here are endless: landscape, still life, portrait (animals
and/or humans), nude (yes indeed!), car, house, etc. In short, you must be
prepared for anything! Of course, if you are an artist specializing in and
known for your impressionistic landscapes (for example), you might not be
comfortable rendering a lot of precise architectural detail. You must
decide before you accept any commission if it is right for you. Obviously,
the more versatile you are as regards painting styles and techniques, the
wider the range of commissions you will be able to accept.
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A
preliminary sketch by
Robert K. Roark for a commission.
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By taking a few simple precautions as you proceed, you can usually avoid all
the pitfalls that are commonly associated with privately commissioned paintings.
After you have determined the size, price and subject matter, prepare a color
sketch of the proposed painting and present this sketch to the client.
This preliminary sketch may be on a panel or canvas and should be exactly
proportioned (though smaller) to the actual painting-to-be. For example,
if your client wants a 20" x 30" painting (a 2 to 3 ratio), an 8"
x 12" prelim sketch would be fine.
You may render this sketch in the medium of your choice: oil, acrylic,
watercolor, etc. The colors should be as close as possible to the
client’s wishes. Although a lot of detail is not needed at this stage,
all the major elements of the composition should be included.
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This sketch is then offered to the client who might suggest major changes,
minor changes or no revisions at all. This is a critical juncture in the
commission process and should be very carefully considered. Once the
client has approved your color sketch (color, composition, etc.), you many then
proceed to execute the actual painting. Keep in mind the fact that people
are primarily visual, not verbal, creatures. That is, your idea of green
may be different from your customer's idea of green. Don't rely strictly on
verbal communication; have an image that you and your customer can look at and
talk about together.
A simple, one-page contract that you and your client both sign is highly
recommended. This contract should include, thought not be limited to, the
following: size, subject matter and medium, price, framed or unframed,
completion date, payment schedule, contingencies.
The payment schedule can usually be broken down into three parts: Once you
accept the commission, collect one third; once the preliminary sketch has been
approved, collect the second third; and when the finished work is OK'd, the
final payment can be made.
As for the actual contract, it is suggested that an attorney familiar with
these matters draw up this instrument. You may include any specifics that you would like or which might
apply to your particular needs.
With a bit of forethought, common sense and experience, private commissions
can be fun, interesting, and rewarding in many ways! Good luck!
In response to many recent inquiries, I will
begin a series of article next month, addressing the issue of mixing paints to
achieve precise colors for portraits, landscapes, still lifes and other genres. |
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