Street Artist

[Michele Rushworth]

Debra wrote:

There is such a market for caricature that a realistic rendering is never what I am asked to do.

When I did realistic color pastel portraits outdoors during my college years the guys who did the caricatures made the most money.

I did it at a summer festival for two years and worked for a company who paid the festival organizers a portion of what we earned. Our "boss" had 30 pastel artists and probably as many caricaturists set up all over the festival grounds.

I did make a pile of money, though ten portraits in ten hours got to be tiring. Though the slow days were even more tiring!

[Dianne Gardner]

Here is one that I did this weekend at an arts festival. I was really happy with my clients response. After all the hard work posing for it...he was tapping his fingers but he sat still otherwise...when I showed it to him he said very emphatically, "Awesome!". So that makes me happy! He's giving it to his mom for her birthday.

This was done in exactly 30 minutes. I could have fussed another 15 to make it a bit more like him but I'm trying to stay in my time limit. Besides, he was getting really tired of sitting.

It was fun.
Dianne

[Debra Jones]

Dianne, the question is, was it profitable?

I know it is good exercise and the idea of taking what you get is a great way to get out and stretch, but in a sense, does it dilute your marketability because you are not doing your VERY BEST. It is also, as you say, a lot of work for the model.

I think the street art expectation is to be part of the performance "model for a day" and brag it off at home. But as a high end portrait artist, seeking serious commissions, is the income, say $40 an hour at the LEAST for $20 a 30 minute portrait if you get booked. To make it economical you have to have a style or gimmick. Something to get them to sit there and line up to be next.

Were you selling finished art along side these demos?

I am struggling to get the paycheck coming in from this. I am nearly out of clients in the day job and seriously pursuing angles to get a predictable flow. I have done demos for NO pay, which I think is in a sense a better plan, just as teasers to get people interested.

This is a marketing and PR room. I am serious, what you all think as far as the longer term benefit of street art.

(I had my socks knocked off five years ago by a street artist in New York. The charcoal work was amazing! His skill was fun to watch. It was a good half hour or more of work and I never asked what he charged. BUT the likeness was crummy. A very convincingly real and sharp piece unless you knew the sitter... is that a career or an advertisement?)

[Michele Rushworth]

BUT the likeness was crummy. A very convincingly real and sharp piece unless you knew the sitter... is that a career or an advertisement?)

Neither. If there's no likeness there's not much hope for business success as a portrait artist. Everything else comes in a distant second.

[Debra Jones]

Exactly my point.
The job of doing street art may just end there.
As a stepping stone, it needs a much higher standard. As an education, it is great, but it is hard to take money for less than your best. I have had suggestions to work on demos from life, and that sounds good but I want MY model. If I hang a shingle that has a price and a product, I need to be able to PRODUCE at the level and speed expected.

Lonny has done that and very successfully. I wonder what his input is here?

How fast do you work? What is your standard? How do you charge? AND do you work from life or photos?

I AM using art as entertainment, not marketing, and I am coming to the realization it must knit into a clear plan. I have the energy of a humming bird but I do need to keep feeding the landlord!

This is a very relevant thread for me right now, thanks for the conversation.

[Dianne Gardner]

Dianne, the question is, was it profitable?

Debra, I have to tell you I am just entering this business myself. In fact, I know you are well more advanced into the portrait business than I am. If I painted as well as you I probably would not be doing them.

This particular painting was profitable ($35 for 1/2 hour) however the festival I did it at was not. I was told it was an 'art' festival and instead it was a 'arts and crafts' festival. I don't like selling my work next to craftsman mostly because viewers fail to see the fine art aspect of it. That's why I decided to start doing quick sketch portraits the second day of the festival. Because my paintings were not selling and quick skethes are more of a craft than fine art. My paintings were way higher priced than what the public was willing to spend at this event. I won't be doing that festival again.

The Renaissance Faire is profitable for me now. I work hard with these little less than the best portraits but I show my good stuff alongside as well as my portfolio. Last year I was commissioned three larger portraits and some smaller ones. The difference with the Faire as opposed to the festival is that the people that come are different. They are all artists, whether they are in theatrics or performing arts or costume art or just have a love for the arts . They love to be surrounded by beautiful things. So they will spend money on good art. The quick sketches were appreciated as a token of the Faire, bringing some of the romance home with them.

I am certain that the time will come when I feel this kind of activity is lessening my reputation as an artist. However, I am not there yet. I have not apprenticed under any famous name nor do I have any degrees in art. I am working my way up the ladder slowly and its mostly by trial and error. I sold my first four digit painting in March and I was estatic. If that becomes a standard for me than quick sketches will become something only for family and open studio because I will be able to afford not to do them.

For now, I have many more quick sketches to do before I even come close enough to being good enough.

I feel the same about pet portraits too- That someday I won't have to accept them. I don't think they do my reputation well. But for now they are bread and butter.

Dianne

[Debra Jones]

Here is the rub.

I am avoiding fairs. I am not that marketable. I actually am working on specialty situations (the dreaded dog shows) but think that a generic portrait may be a bit more IMPULSE purchase than generic humans. I have yet to see how the exhibitor, unless they have a really smooth slick product can pay off the entry fee. My portraits are not up to product level. The kids that do well in most art fairs are crafters and print makers.... or that is how I hear it.

Making money at these events is what we are here for. I had Ren friends years ago and they have a season commitment. Is that what you do? Or is it a weekend festival. Here again. The income will be from face painting, not painting faces.

I know of many artists who did get established and their careers started in the outdoors, but I have not heard of the portrait artists, unless as I said, they were slick crisp "Disney Souvenir" quality.

The next question I have, Dianne, is how many brochures did you get handed out and names on your mailing list? That seems to be the BEST reason for sitting among the candy apple-ed kids buying pot holders!!! There are short and long term profits.