Creating commission art can be a great way to increase revenue and, if all goes well, develop lasting relationships with art collectors. However, this process must be handled with care, as there are many potential pitfalls.

Foremost among these negative situations is poor communication and unreasonable expectations of the artist and the client. After all, this is a business venture, not an opportunity to establish freewheels.

Here are five essential rules to keep in mind when considering any job application to be successful.

5 Key Guidelines for an Effective Art Commission

1. Link to Subject

It is essential to have a strong study relationship. I have found from experience that if my heart is not at work, it will probably not go well.

I have a wide range of interests in the arts, but I will reject it if the topic does not cause sparks.

2. Say No to Pictures of an Outside Person

I do not paint references for photos provided by others. If I have not seen the lesson myself, I cannot interpret it fluently.

3. Communication Is Important

There should be good communication between the client and you. Explain in detail what you are going to do, what schedule, and what day.

The client knows exactly how much the project will cost and when the money is needed.

4. Create Photoshop Mockups

To make sure we all agree on the title, the type of image and the final art space, I often create three subtle expressions of songs that can be in colour, either by watercolour or by Photoshop. To build trust, I do this free of charge.

Photoshop is handy for making fake because one can re-paint, rearrange, re-rename, and create an image-text to make realistic fax of the final drawing.

I recommend asking the client to sign one of the photos before proceeding with the project. If the client can not agree at that time, try creating one or two more – if he can be clear about his concerns and if the project is big enough.

5. Rise Price

I do not participate in price negotiations. My sizes and values are posted on my website.

Regarding price, one might argue that a custom function should carry a high-value tag because it is a distraction from the artist’s normal flow of structured work. Some artists charge extra for this.

The artist needs to be happy, too! Please keep reading to learn how I put together my successful piece, titled Meadow Light.

From Concept to Commission, Step by Step

With this custom of art, my client based in California, a former native of Kansas, was looking for something that would remind her of the forest and meadows she grew up in and loved.

I created three small watercolours for this 30- x 40-inch oil commission based on the morning light flowing through the tall trees around my area. When I do my preparatory work diligently, I always present three solid options for the client to choose from.

Working with three gives clients enough options that they will often make one choice without feeling like they need to see more. Similarly, giving clients a few good options is also an excellent strategy for improving future work.

In the case of Meadow Light, my client was pleased with the final drawing (which used the second of the first three options) and finally ordered two more! This has happened many times over the years.

Building Materials

I never cut building materials when working for an art commission — no matter how committed I was to cutting money for my studio work. When it comes time to produce a piece of customer art, it has a right to expect the best.

I buy high-quality heavy stretchers. If the image is more than 48 inches in any size, I go with the Best Pro-Bar aluminium/wood composite bars. They will never bend or bend. On top of the stretchers, I use Belgian oil-primed high-quality linen. (See this article on our blog for how to stretch primed canvas)

Once I am satisfied that I have the support of a square and properly stretched painting, I paint in my construction using light brown oxide reduced with mineral spirits and a painting tool.

With this article, I decided to draw a tonal block-in. This is the Old Master method, in which all the painting is done in one or two colours, with all the correct values and textures precisely raised.

I have used this method because of the effects of the excess light I was trying to represent. Since oil painting is a radiant process, I can emulate a white titanium tube in contrast to natural, additional light.

All other prices must be below that value. Once I got this effect right into the tonal block-in, I only needed to match the already established values with the over-painted colour and glazing next.

Mixing Color

Pallet 1 With Green Thread

I prefer to mix my colour with strings, from light to dark, usually warm to cool. This ensures colour consistency and gives me very different temperatures, shades and values to choose from as I go through the process.

Most importantly, once these colours are carefully blended, I do not have to stop mixing new paint, and I am not tempted to add a new, non-disharmonious colour to the mix.

Pallet 2 With Green Thread

The pictures above show the two combinations I created to cover all the vegetables needed for this approved drawing. For the first mix, I used cadmium lemon mixed with raw sugar.

For the second mix, I used yellow cadmium mixed with ultramarine blue. This has given me a wide range of cooling and cooling to work on.

Colouring, Part 1

Using large, flat brushes, I painted in large quantities carefully to match the values of my block correctly from the start. When I do this, the work goes faster, and I can not even begin to lift the edges as I continue to compose.

I’m a fan of pentimento. As you can see in the picture above, I leave as much of the paint below shown as possible. Minor warm, reddish-brown tones work vibrating with vivid green.

A functional backward, cool to warm, makes sense to create depth of space and tone.

Colouring, Part 2

At this stage, I did not worry about the details but rather the abundance of colours and attitudes. Using 1-inch and 3/4-inch hog bristle flats and filberts, I turned on the backlight rays to see how these features could be handled.

After identifying the light streams, I realized that these effects should be applied to wet paint. My method was to use hog bristles for as long as possible, only to switch to sables for one last touch and soften the hem.

Colouring, Part 3

It is a good practice to sharpen a piece of art from the centre of focus, on the outside. This is how we see naturally.

If the focus area is well resolved, then the periphery of the drawing can have tiny details, have a soft-focus effect, and still work well.

Adding Last Touch

John Hulsey Meadow Walk IV, finished piece, 30 x40, oil canvas, size

Edge editing is done in the last step, any price adjustments are made, and details are added, deleted, or filtered. At this point in the process, I worked very clearly, using impasto verses to get simple highlights.

As mentioned, I prefer to work wet and wet to create texture. If the area is already dry, I will repaint it to achieve the desired effect. This may sound like a lot of work — and not a lot of fun — but it is a minimal effort to paint this way rather than working on challenging dry paint.

At this point, we want our paint areas to come together as one and work together. We want our brush job to look fresh and wet as if the painting were created in an hour — all prima.

Closed Hand

Working with the timeline may require that the drawing be dried and sealed before delivery can be made and final payment can be made — which should be considered before starting.

To achieve that, I will use a medium that will dry quickly to speed up the process. I prefer the Gamblin line of mediums, and Neo Megilp is the simple method that I can use because it allows a lot of time to work but dries the paint film quickly.

If I need to work fast, I will switch to Gamblin’s Galkyd medium to stop overnight. Galkyd is a low viscous product, so it should be used differently than Neo Megilp gel.

Try them all first to understand the various features. Of course, if the paint layers are thick, it will take a lot of time to dry before any varnish is applied.

Unless I have a lot of comforts, I will usually apply a thin layer of re-varnish to the freshly dried paint to restore the lustre and light before I post it.

Therefore, I will advise the client on this and recommend that you have a local specialist apply a final varnish for six months or more.

When working with an excellent long-term client, you may want to invest in a trip to its destination and set yourself up for a visit.

This is a great way to cement relationships and often results in multiple commissions or sales of straight drawings.

Arts Commission Guide – Posting is the process of hiring an artist to create a work of art based on client requests. There are many reasons why people use works of art. Sometimes, the piece they like is too big or too expensive. If so, the client may request a smaller or more affordable piece.

Sometimes, a client needs a work of art with a different colour than the real one. Interior designers may submit to a design similar to the colour scheme of their project, while corporate clients may want to “mark” the piece with corporate colours to match their appearance. Whatever the reason, commissions are widespread in the art world, and many artists will be pleased to create a piece according to the client’s wishes.

We know that posting art can be intimidating, especially for a first-time buyer. We created this blog post that quickly explains the whole process.

Where to Start?

When releasing a work of art, you should first decide whether you want a piece of art based on another artwork or a completely different piece. For example, some clients who want a piece can afford it and will ask for the same image but in a different size. Most artists will be happy to redo the work of art, even if the exact copy is not possible due to strategy or style. Sometimes, people want a personal piece of art to them, for example, a photo of them, a family member, a place, or something that contains a personal description.

If you are unsure about what you want, consult a gallery or artist to decide what kind of art suits your needs. The gallery will show you a portfolio of artists available for use and help clarify ideas. Once you have selected the artist and the title, you will be asked to sign a written contract. Having a written contract containing the details of the commission is essential to ensure that everyone adheres to their part of the agreement.

What Are the Properties of a Good Commission Contract?

Every Commission Contract Must Include:

Project description: The contract should briefly describe everything you have agreed on verbally (size, colours, materials, title, and other structural details).

Payment Agreement: Most artists will request a 50:50 payment form, which requires you to pay 50% in advance and the remainder when the artwork is finished. Early payment is essential, as it allows artists to purchase building materials and cover their initial costs. To elaborate on the price, the artist will probably list the prices of other pieces, such as the reference point.

Creative Process: This is where artists have to explain more about their needs. For example, if you want a picture of your dog, the artist may ask you to send a few clear pictures of a pet. Also, this is the part where you plan how often you will get visual updates (drafts, progress photos, etc.) and how (high-resolution images are suitable for two-dimensional tasks, but videos are handy for photos, as they show a piece in all angles).

Copyright: It is important to note that even if you buy a piece, artists still have legal rights to it. Many artists will want to include a photo of a work of art in their portfolio or website, and sometimes, artists will ask to borrow their art pieces to exhibit. If there is a reason why you do not want a piece of art to be posted on their website (for example, because it is a very private photo of your loved one or a picture of your house), be sure to mention that in the agreement.

Shipping Strategy: Now that you have completed the artwork, you need to bring it up. It is essential to check shipping options and ensure that the artwork you ordered arrives safely in its place. In this part of the contract, you will see who is planning the shipment: client or authorized artist.

If you order a piece of art from another country, you will probably have to pay taxes, duties, import taxes, and VAT, which will increase the commission price.

Since posting can be difficult, it may be best to leave it to the artists or gallery. Many galleries have information about shipping options and additional costs, and they will be pleased to take care of all shipping plans.

Timeline: The timeline should contain time estimates for each part of the creative process. It should include the payment schedule, deadlines for drafting and previewing the document (and your authorization), and the time required to complete and submit the work.

Most Artists Open to Commissions

 While not all artists are available on commissions, most artists are open to the idea, so don’t be afraid to ask for a quote. Craft art is a great way to find affordable art pieces, make your collection your own, or find works of art that match your living space. It is a personal process for everyone involved and can require work. But the effort will pay off in the end when you get one piece of art made for your collection.

Tips For Artists Receive Commission – As a self-employed artist, I rely more on commissions than selling my work in galleries. However, some artists are not great negotiators or business ideas, and art commissions that start with optimism can sometimes turn into a bitter feeling. These 8 tips will help you keep good clients, manage their expectations, and produce work with integrity.

1 – Time is the Key. Respond and Follow Your Tracks Quickly

If someone expresses interest in purchasing one of your items but cannot make a deposit or payment immediately, lower their contact details and follow up with them at the end of the day/event. Most people who buy art “don’t need it”. It is a luxury that is often bought without hesitation – they love art and should have it. But if you wait a long time, the impression may dissipate or overwhelm you. When art is intended as a gift, time is of the essence. I learned while working in advertising that no matter how well-marketed your product is if you do not sell at the right time, you are missing out. But fortunately, people are more willing to wait when it comes to art.

2 – Do Not Be Ashamed to State Your Goals

It is always wise to have an artist agreement signed by both parties to protect you from harm. First, the terms of the license must be specified. Does the client want the right to reproduce the artwork for sale/sale? They may think that ownership of a work is the same as having a license to reproduce it the way they see fit. It is your job to discover what that is and bring it about. Many artists retain their license rights for their work even after it has been sold. But an unsuspecting client may take your commission and reproduce it innocently in t-shirts or publish it for use in marketing without first notifying you. That will lead to an inevitable setback. Independent artists may request a “murder fee” – a liability in the event of a project being cancelled. Killing costs can be 50 – 100% of the project cost, depending on how soon the project will be cancelled.

3 – Request Payment In Advance

It is best to ask for 50% in advance to cover the cost of your items and time. Some people prefer 30% down and a few instalments. I would recommend taking between 30 – 50% upfront unless the commission belongs to a friend or someone with good standing with you. For larger commissions, consider a monthly payment plan in which you send your client monthly progress updates. Making a payment will help the sponsor and the artist stay invested in the piece and build a reliable working relationship.

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4 – Know Exactly What You Are Being Asked To Do

Specify your definitions and interact with the client from time to time. Remember why the client chose you to start with it, and do not doubt your ability. TAKE a creative license – that’s why you’re hired! DO YOU start with ideas or drawings for approval before moving on to more expensive or larger projects. DO NOT come too often, or appear uncertain about yourself or your ideas, as this is an open invitation for your sponsor to promote their ideas or perhaps to drag you into a creative journey that is not yours. They are just trying to help, but they are probably doing the opposite.

5 – Inform You’re Promising Customers And Learn To Manage Difficult Ones

Not all commissions will go well, but don’t let a few bad experiences ruin much power. I had had my share of demanding clients, especially when I was a dedicated student and had just graduated from art school. This learning curve will capture information, but here are some clues you should be aware of. Good customers will insist on paying you in advance, leaving you a great art license, and giving you a broader spectrum to work with without interrupting your creative process. Stay with the right customers, as their confidence will inspire you to create more, which leads to more parts of the portfolio, and you will love what you do even more. The bad guys will try to tell you how to do things, change their minds after you start, or take control of your work a bit – but they insist that they are trying to help. Good client management skills and teaching your client about your process – just as you DON’T need them for smart installation – are essential to maintaining integrity in your work.

6 – Know Your Market

What kind of art do you like to create the most? What kind of art do you excel at? If you market yourself wisely, you will end up with the commissions you are most interested in. I have had trouble deciding for a long time because I enjoy creating in many styles – my work ranges from ordinary air springs and travel memories to bizarre dark images to colourful images. I would enjoy the pictures if I had to choose, but it takes a lot of time and has a fragile market compared to the world and the colourful pictures.

7 – Have a Way of Quoting Your Work

This will prevent panic when the opportunity arises. Many artists claim their work based on the average per project ($ = hours rated x hour per hour) or based on size ($ / sq footage), but those four variables should be kept in mind:

1) Time – Will you work on weekends or long hours? Or can you do this comfortably in a few hours? Should it be fast, or can you take your time?

2) Size – Larger pieces require additional paint, building materials, handling, shipping costs, etc.

3) Skill Required – Graphics and graphic design often require more skill than landscape, which has a higher value. Is the subject complex, such as lace or patterns that require a lot of detail?

4) Creative integrity. Will this clip improve your portfolio, or will you never show it off after it is finished? Is the project interesting, meaningful, and enjoyable to work on?

8 – Provide Good Information By Sharing Your Process

The more open and honest the client is, the more comfortable the feeling will be for both parties. Log in from time to time, and send them some pictures of ongoing work or an exciting review. I can’t stress enough excitement: YOU are an artist. If you sound happy with your piece, so does the client. If you feel insecure or insecure, your client will likely lose confidence in the project.

Markham artist Stacey MacNevin emphasizes the importance of not only bringing the painting but also bringing the whole experience. He advises, “Spend time ahead and listen to what the client wants from a piece of it. They may say: ‘I love your stuff – do whatever you want but no avail. ” Posting an artist should be fun, exciting, and rich with conversation and creativity. So take the time to understand your client, listen to their point of view, and give them insight into your creative process. It deserves a double whammy: the client will feel more connected to the piece because it is now more connected to your process.

While art commissions can sometimes be a test and a mistake, in my experience, these tips make customers happy and allow you to maintain your artistic integrity and creative vision.