In this column you'll see a variety of topics addressed,
some philosophical, some aesthetic and some practical. As we
go forward, we welcome your comments and questions, as well
as your thoughts on particular topics you'd like to see addressed.
Meeting the Client
|
Ernesta, 1914
By Cecilia Beaux
The Metropolitan Museum
of Art, New York |
he
nature of commissioning a portrait can be extremely daunting
for nearly everyone who's never done it beforeand for
many who have. It's very, very difficult to part with a large
sum of money (and "large" is always subjective,
and always defined by a given individual), for something that
the buyer hasn't seen, and to be told that the down payment
is, yes, non-refundable.
I think we've all had the experience of hearing someone say,
"Oh, so-and-so had a portrait paintedit doesn't
even look like the person." If any part of a prior experienceon
the part of the potential client, or anyone they've ever knownhas
been unsuccessful, you'll face an underlying prejudice that
you'll need to counter. If the potential client is entirely
new to the subject of portraiture, then you'll only have to
counter something akin to abject terror.
What this means most is that you really must establish a
solid level of trust, a confidence in your abilities that
will be part of the relationship you'll have from that point
forward. Your sensitivity and perception about what each person
needs in order to trust you will be a critical guide for you,
and you'll become better at making these judgments with each
new experience.
The First Contact
The first contact you'll have with a potential client can
occur in a number of ways: a telephone call, personal contact
during a show or exhibit, a referral from a prior client,
or in response to any advertising/marketing/ mailing you initiate.
Regardless of the nature of the first encounter, people will
fall into one of two groups: those who know your work, and
those who do not.
If a potential client can answer "yes" to three
questions about your portraits, there's little else to fret
about:
Are you comfortable with the degree of likeness to
expect from the artist?
Do you like the artist's style?
Does the price work for you?
A "No" to any one of the three is a deal-breaker,
and it's important to find out the answers as early as possible.
Otherwise, both of you will have wasted a good amount of time
and energy.
I think it makes sense to address the questions in the reverse
order.
The Pricing Question's
When you take the first phone call, you'll want to establish
a warm and professional manner. Find out what the caller is
interested in, how they came to call you (make a note on this
as it's important when you look at evaluating your marketing
efforts), and who the subject of the portrait will be. People
commission portraits for important reasonslove, honor,
recognition, respectand are generally interested in
expressing something about the subject. Begin immediately
to let the caller know you are interested in the subject and
in conveying something important about him or her (or them).
You'll want to address this critical issue during the first
conversation:
"I am not sure if you are familiar with my current price
structure, but my portraits begin at $ xx."
In most cases, the degree of "gasp" factor, if
there is one, will be immediately evident, generally marked
by deafening silence, or "Oh, you've got to be kidding
me!" It doesn't matter if your portraits start at $200
or $2000, there will always be someone who will have that
reaction. There is no amount of smooth sales talk that will
change the reaction, so your best response is to encourage
the caller to explore portrait prices in general, and to feel
free to call you back if you can be of any further assistance.
Find out the answer to the price question before you spend
30 minutes of the phone, and most certainly before you arrange
a meeting. You may not know why the "gasp" response
occurredit might be because the caller clearly does not,
and doesn't ever expect to have the money to hire you. But
it might be simply that the caller is completely unfamiliar
with portrait prices. After all, everyone who's ever read
a Sunday paper has an idea of what washing machines cost
because
they are constantly barraged by advertising. I think it's
part of the portrait painter's responsibility to help educate
potential clients about the marketplace.
If, instead of the "gasp", you hear, "How
do prices work for more than one subject?" or, "What
size would that be?", you're on positive ground, and
will want to cover just a few more points before moving on
to arranging a meeting:
Pricing and payment policies: briefly describe your
policies, including contract, down-payment, installment payments,
non-refundability, etc.
Turnaround time: let your caller know how long your
delivery times run from the first sitting.
The Question of Style
Introduce the notion of a face-to-face meeting by asking,
"Are you familiar with my work?" Regardless of the
answer, you can respond, "I'd really like to show you
some of my most recent portraits."
Whenever possible, I want to talk to clients face-to-face
before we commit to the commissionI need to know if
I am the right artist for them, and whether they are clients
I can satisfy. I do not want to find out halfway through the
job that, oh by the way, be sure to get the roses in the Waterford
vase on the piano shawl on the Persian carpet in front of
the brocade drapes and the organza sill. If I do not think
that we are a good match, I never hesitate to refer clients
to an artist who I think might meet their needs. (I have learned
this, by the way, the hard way.)
The Face-to-Face Meeting
So you and your potential client have agreed to meet. Where?
If your studio space is a messy wreck (nothing wrong with
that if it works for you), without a sitting area, viewing
space, and a comfortable setting, you'll need to find an alternative
location. The options are to meet at the client's home or
office, or in a convenient public place.
If it works out, I think it's really helpful to meet on the
client's turf. Not only does that maximize convenience for
the client, you'll get a strong feeling for what he or she
likes. In the home, you can note how they use or don't use
color and how far their artistic comfort level extends beyond
the literal. If in the office, you have the opportunity to
observe many things, including where they choose to meet and
whether there are others in the meeting.
If you will be arranging a meeting in 'neutral' territory,
a nice hotel lobby, coffee shop, or other public setting can
work well. Restaurant lunches don't work very well, because
there are constant interruptions, and limited space to show
your materials.
What to wear? This might sound like a silly consideration
at first blush, but I think it's important. It's a universal
human trait to feel comfortable with people who are most like
us. Remember that comfort is part of trust, and that trust
is essential. If you are making a presentation to a law firm,
ladies and gentlemen, please wear a suit or equivalent appropriate
business wear. If you are to err, err on the conservative
side. If you are meeting with a mom in her home, dress as
if you were going to a business or nice dressy casual lunch.
Paint-stained blue jeans, old sneakers and your work shirt
are what you wear in the privacy of your own studio. (And
only if you aren't expecting a client visit!) .
Do not assume that because you are an "artist",
you can push the envelope. Flamboyant dress is fine for your
avant-garde gallery opening, but not for commissioned portraiture.
You think you can't afford proper clothing? Of course you
can. Just explore the resale shops.
The Likeness
Question
It's important for every client to understand that you will
not be producing a painted photograph. I often ask my clients
jokingly to raise their right hands and repeat after me: "This
is painting, not a photograph." They laugh with me, but
they get the point.
Every commissioned portrait represents a collaboration between
client and painter. You are being hired not to be a copying
machine, but to bring your interpretation to the canvas, one
that can be delivered only by an artist's hand. It's not possible
to overestimate how important it is that your client shares
this conviction. I have over the years occasionally met potential
clients who think they want a painted portrait, when what
they really want is a lovely photograph. To that end, I keep
a referral file of good local photographers. One of the most
effective ways to demonstrate the manner in which you paint
the portrait is to have a strong self-portrait in your portfolio.
When you do meet, you'll want to bring along: portfolio of
work; business cards; pricing list; an original sample if
you can manage it; and a copy of whatever your pricing/payment
policies, contract, or letter of agreementhappen to be.
And you should pay for the coffee.
See you next time.
October 16, 2005
Copyright © 2005 by Chris Saper
Chris Saper has painted commissioned portraits for fifteen
years, following a seventeen-year career as a health care executive
in Phoenix, Arizona. In addition to her painting schedule, she
is an active portrait instructor, teaching both portrait painting
and business skills. Chris is the author of Painting Beautiful
Skin Tones with Color and Light. |