How to not starve as an artist

On April 24th, Sandy Delehanty, an artist workshop instructor and watercolor painter, gave a talk on her experiences as a full time artist and what she had learned on how to succeed as a painter full time. As an artist interested in the ways of the art world, I attended hoping to learn ways in which I might best apply my skills and abilities in the hopes of making a living in a creative field. Delehanty has a multi step process she uses to illustrate one's best chance for success as an artist.

Sandy Delehanty
"Abandoned"
Watercolor

Step 1: Determine if your art is ready to earn a living for you. Have you won any local awards, have you been accepted in to any major national or international open shows? The last two types of shows are often so competitive that just getting in can be a big deal. Other things that can be a leg up on the competition are being invited on behalf of respected galleries or art organizations. Additionally, making friends with gallery professionals and getting their feedback is a great resource. Contact well respected artists in the field for their opinion on your work. Often you will want to avoid asking your family or friends what they think; they know and care about you, of course they will think your work is great. If you are not ready for this step, then it may be best to take more classes or workshops to master the elements that are weaker.

Step 2: Know how much money you need to live comfortably. It is important to be realistic with this step. Look for any ways you may be able to cut back if need be, and make sure to allow for any emergencies.

Step 3: Know where your income will be coming from. Make sure to list any and all possible income sources and prioritize them. Delehanty mentions that her original list was not the same as the list she found most accurate in practice. She found the most lucrative income to come from commercial galleries. Workshops that you organize, and workshops you do for others are next on the list in that order, followed by self-organized weekly classes and adult education classes. She actually told us to avoid arts festivals, as they did not seem to be worth the time invested for the return, especially if they weren't local.

Step 4: Research various income possibilities. Make sure you understand your time commitments. How much time per week do you need in the studio? Understand shipping time requirements, etc. Know that time is money. It is also important to have various income sources, putting all your eggs in one basket is a recipe for disaster should anything go awry.

When it comes to choosing commercial galleries to show at, there are a few specifics to me mindful of. Be aware that you are picking a business partner. The gallery with represent you to the world, make sure that any galleries you choose to show at share common values with you. Also know that location is important. Art and tourist towns generally sell more work that other locations. Additionally, make sure your work fits with the targeted market. It is important to be professional: always deliver more than promised, always be on time, and never undercut your galleries.

Being a workshop instructor can pay well, but can be a lot more work. Instructors who are nationally known can earn a very good living, but will travel a lot. To break in to the field, a solid resume is required, and teaching skills matter.

Step 5: Understand your expenses and how to control them. Make sure to list anticipated expense categories, prioritize largest to smallest. Know what you can do yourself, and learn new skills to cut costs. Take classes, read books, and watch videos.

Step 6: Set up your business. Get a business name and set up a business checking account. If you are selling directly to the public you'll need a resale license, which allows you to avoid paying taxes on any materials that will go in to your final product, such as paints and canvases. Do you have a website? Have you made business cards? Did you get a business license?

Delehanty spoke a lot about her own workshops, and how successful they had been for her. She told us about the workshops she had been recruited to do on cruise ships, and how they were a great excuse to see the world and become inspired. I asked her how she managed to get a gig teaching a workshop on a cruise liner, as that seemed like employment with a lot of suitors. "I saved and saved and then went on one myself," she said. " I watched the instructor on it and saw how it was done. I went on one with an instructor I liked and wanted to learn from; connections are important. I got to do one myself two years later. Cruise lines won't hire you unless you have a good following, either."