Ownership

I make checklists in the run up to events to make sure I don’t forget anything and have also spoken to many other artists about their experiences, to see how other people do it I have compiled all this into some lists.

​

This practical guide intends to give some thought and structure to approaching all projects that you embark on and suggest workable compromises to affect the highest quality when and where the money might be less available. You may not be able to ask for blank cheques, but you can plan to be more effective.

 

When preparing for a pitch, keep a complete record of all your ideas, designs and creative input, ensuring that there is a complete paper trail of your work, from the first brainstorming session through to initial sketches and detailed design drawings or detailed explanation of your ideas. Don’t forget you can send copies to a Data Bank or add files via a website.

 

Ensure that you are clearly identified as the creator of your ideas/designs by putting your name and the date of your idea or design on each document.

​

Record your ideas or designs by sending your documents to a bank or solicitor or by sending them to yourself through the post in a sealed envelope. This will give you independent evidence that you created your designs and at the time you say you did.

​

Ensure that you know what intellectual property rights subsist in your ideas/designs - if any, and it may be possible for you to obtain registered design protection before disclosing your ideas or designs to anyone and thereby strengthen the legal protection available to you.

​

Keep a record of any other parties who have been involved in the creation of your ideas and designs, and make sure that you have confirmed the legal ownership position with them before using the ideas/designs.

​

If necessary, ask them to sign an assignment agreement or, at least, an acknowledgement of your ownership of the intellectual property rights. This helps to avoid problems with third parties later when you need to rely on your rights.

​

Always keep a written record of your discussions which you have with your client at any pitch meeting or over the telephone so that they cannot argue, for example, that you waived confidentiality in your ideas/designs

​

You should send a follow-up letter to your client a few days after your pitch to them to confirm the content of your discussions with them and to remind them about your intellectual property rights and the confidential nature of your discussions.

​

It is particularly important where your client is paying you a pitch fee to make clear that you own the intellectual property rights in what you produce for the pitch and that you wish to maintain the confidentiality in the ideas/designs presented to your client as part of the pitch. In certain circumstances, a person who commissions a design for payment can be the owner of the intellectual property rights in the design produced.

​

If you are unfortunate enough to lose a pitch, always ask your client to return any presentation materials left with them in order to reduce the risk of your materials being reproduced without your consent and remind them at the same time that you have retained your intellectual property rights in your materials. Remember that the object is to ensure that the recipient of your ideas/designs is aware that you consider them to be confidential before they see them and for you to be able to prove this to a court if necessary.

​

Applying for opportunities can be extremely rewarding and open new doors for showing work and earning a living, but it can also be a dispiriting, costly and time-consuming endeavour.

​

In recent years there has been furore and increasing publicity around duplicitous opportunities and the overemphasis on unpaid internships within the arts. Whilst there is an increase in the visibility of opportunities for artists through social media and online platforms – advertising on various e-groups, e-bulletins, regional and alumni printed newsletters and specialist websites – the onus is on artists to selectively assess and apply only for those opportunities that will further and nurture their careers.

​

Artists are well-versed at balancing competing needs, and whether looking for new collaborators, exhibiting or selling opportunities, identifying appropriate competitions or new commissions, or finding arts-related employment, making applications can also be a chance to undertake some administrative maintenance, reflect on practice and update portfolios.

​

Knowing which opportunities to apply for and which ones to disregard can save both time and money – but how do you decipher which are the most appropriate for you, and which will yield a higher success rate? And how do you assess if a subsequent offer is then worthwhile accepting?

​

The Two big questions are, what’s the deadline and what’s the fee? And then ask these four questions before accepting an offer… 1) Is the commissioner aware of artist’s needs as well as their own? 2) Is the budget appropriate to the job specification? 3) Has a budget been put aside for any community participation element and is this additional workload requirement reasonable? 4) Make sure the timescale is appropriate for the project requirements.

​

Who are they?

 

If only an email address is given, it’s not at all unreasonable to send a quick email indicating your interest, requesting a telephone number (and address and website) so that you can speak to them directly. Also, ask for names of other artists they have worked with, or ask about how a project is funded to help you ascertain an organisation’s validity, and check the websites, Google the organisations, get the low-down. If they’re asking for money upfront from you to participate… treat with great caution!

 

Is it professional?

​

Look at their website; look at its professionalism and at the work there – would you be happy showing your work in this context? Sometimes there can be issues of professionalism. It can be a case of NOT going for something the moment it looks a bit clumsy. So, does it look like they know what they are doing? Why are they offering it? Have they got a track record? Is it connected to wider networks? If it feels like you are jumping through hoops to get the opportunity then it may be worth stopping early on, as it could be that you are not for them, nor them for you.

​

If there’s a really short period of time between the show and the deadline for proposals etc, think again. Is this a sign of bad organisation? Will this affect what you’re able to produce? Because, if you’ve responded to an opportunity and been successful but find that there are issues you are uncomfortable with once contracts are presented, discuss this with the organisers and, particularly around fees, indicate the ‘going rate’ for the type of work on offer. You can cite other projects as examples.

 

What is their reputation?

​

When you have been practising for a while, you know the reputation and type of work that they show – whether it is a club you want to be a member of, and do they have a track record? Look at who else they have worked with in the last year. A track record isn’t everything, but it does help as there is no substitute for word-of-mouth. Talk about opportunities amongst people you know who operate within the art world – peers, curators, local arts officers, etc. to find out information about opportunities and experiences others have had of working with an organisation.

 

Do they only want your money?

​

Be wary if there is a cost to apply. Consider the quality of the exhibition opportunity and weigh up whether it is worth the fee. If you are thinking about paying for a stand at an art fair, treat it as a business decision – can you justify it within your marketing or sales strategy? Opportunities should be about helping you to generate income, not to spend it. One year I put aside a budget of around £400 to apply for open calls and said to myself that if I got a 20% success rate, I’d be happy. I did about three days of research into open calls that had a strong history or link with drawing – that were medium specific – and that were ethical and transparent about how they used the submission fees. I got into the majority of the shows I applied for and sold enough work to operate at a profit.

 

Do you now your bottom line?

 

Know your bottom line so you don’t operate at a loss. If the opportunity allocates several budgets for the different elements of the project (e.g. travel, stipends, accommodation, materials), then this shows they have thought about how to support artists and what the artists need.

​

Don’t always take things at face value, really consider your financial situation and weigh this up against what is being offered to you (e.g. fee, accommodation, time needed to be taken out of paid work, workshop requirements). If an opportunity is expecting a lot more from you for the money (and/or in-kind support) than they are providing, negotiate with them to agree on a mutually beneficial situation. If there is a risk that the quality of your work will be sacrificed, don’t do it.

​

In developing your practice is it compatible with your opportunities? As they shouldn’t be totally prescriptive, there should be loads of room to work according to your own practice and your own needs.

​

Does the opportunity suit the themes or type of work that you do? Since the recession the range and number of opportunities in art commissioning has been drastically reduced. Unless I feel I suit a commission 100% I don’t apply.

​

So do your homework and always ask for and read the additional information, and check out websites to get an idea of past projects or exhibitions and an understanding of the kind of work they are interested in.  Don’t forget to ask yourself what it is that you want to get out of it… and remind yourself of this if you get the opportunity.

 

Does it have long-term potential?

​

You should be clear about who you are and what you can and would like to achieve in the long and short term. Then ask yourself: ‘is accepting this opportunity going to help me to get what I eventually want’. Make a check list of pros and cons such as: Will it improve my track record? Offer me a financial reward? Give me a promotional opportunity? Be enjoyable or fulfilling? Teach me new skills? Strengthen my network? Give me time/money to develop new work? If the opportunity you are offered is all give and no gain, you are probably wasting your time.

​

Will the opportunity open your work up to new audiences and expand your networks? Ask yourself whether the opportunity has the potential to start the ball rolling and snowball into an ongoing professional relationship / something more sustainable.

​

And if in doubt… organise it yourself because the best way to make work is to create opportunities yourself or network your way into opportunities.

​

In an ideal world you would only embark on projects where there are sufficient funds available. This guide by Rod McIntosh outlines an approach to finding workable compromises whilst maintaining quality for times when money is tight. Fees and Payments Fees and Payments Guide Practical Guides Professional Practice Self Employment Sustaining the arts in a harsh climate. Because in an ideal world you would only embark on projects where there is sufficient if not a surplus of funds available. You are wise to review and manage the work you take on with a degree of pragmatism. We know things cost more than they are budgeted for therefore it is prudent and good practice to think ahead of financial ambiguities than to have to dig deep to solve them, often out of your own pocket, in the moment.

​

Assuming value for money is an assessment of realism and one of the criteria you should use to address your initial selection of interest in a project. Seeing if there is a budget for what needs to be done should conclude for you whether to apply or not. With restricted funds you may still choose to apply, compensating for the lack of money with strategies from your previous experiences. Maybe it will be this that gets you the job – your ability to deliver a quality service on a tight budget. But at what cost to yourself.

​

• Contributing materials from your studio to the project.

• Documenting the process with your camera and resources.

• Attending meetings that are not planned or paid for.

• Concluding the evaluation in your own time.

• Running one more workshop than you are paid for, to boost numbers.

 

Your materials, your knowledge and your time all have a cost, and the challenge is to question the assumption that you are content to continue with this hidden economy of matched funding from the artist. Are you able to make such financial contributions, subsidising the budget? It is not admissible as ‘in kind’ matched funding, so why contribute to it?

​

Do not trade on your reputation of doing more than you are paid for to get the job done. Quality has a cost and it's a combination of our experiences and an immediate gut, head and heart reaction that tells us whether a project is doable. Trust yourself to question, to challenge and change the parameters within which you work successfully. Good work does not go unnoticed, but it is easier to spot a less–than–best project. It is in your own interest to engage with work that exemplifies your skills and abilities to the optimum. Settling for work where the finances pose potential threats can be seen as self-sacrificial. As threats to the quality of the work, the quality of the experience for the participants/audience and for yourself impact on the quality of your reputation.

​

These are familiar answers from artists explaining the reasons why they are compensating for a lack of sufficient funds to pay for the satisfactory completion of a project. It is the responsibility of the purchaser of your skills/services to pay for you or to find the funds to pay for you. Qualify to them that quality outcomes need quality resources, funding and support. If the money is not there what can be done?

​

It is critical that all parties share a common understanding of the vision and know that this is not what is changing. Fully appreciating the aims and objectives and motivating forces behind the brief is essential in revealing the bare bones. Taking it back to the spirit and tick box elements that need to be covered to warrant success enables you to flesh it out appropriately. There will be several opinions on this according to the number of stakeholders, commissioners, funders, participants, and yourself. Keeping them all motivated and engaged in the process is about good clear communication.

​

Engage everyone by naming, listing, and prioritising needs and try to seek common ground where collective desires and outcomes match because this is what you must deliver first. Additional values will also be met and identifying this where it happens is beneficial to your case. From this you can step forward to look at the dimensions of the project that must and can remain at a realistic cost. Eliminating and not worrying about the excess needs of a project can be critical in getting it back to budget when an overspend and delivering what is needed on the money available. Elasticity over ambition and a desire for innovation make sure the brief is not overstretched. But some clarity and focus on a revised project specification is a quality that you bring.

​

1. Describe the shared purpose, aims and newly prioritised deliverables.

2. State parameters: timescale, budgets, range, scope, geography.

3. State people and partners involved: strategic, production, relationships, reporting on the decision-making process.

4. Establish ‘review points’ at which to check and review progress, results, and budget.

 

It is not about changing the purpose of the project. You will remain accountable to the initial plan but may take a different route. It is not less–than a project, it is one that has answered to its rationale. It has gotten to the core and prioritised the crucial outcomes and delivered this within the resources available. It is now achievable, and this should encourage everyone involved.

​

Re-budgeting from the actual time of spending the money, things could have changed. It is generally good practice to review budgets regularly. Identifying the flexible and static costs illuminates the manoeuvrability you have. Investing a small amount of time in the analysis of the future spending can prevent overspends and pin point areas of concern surrounding lack of funds. If you are confident in the value of the project and have a sense of what is needed to achieve success, the exercise of appropriating money from one budget heading to another without losing the integrity of the project is manageable.

 

What are the static costs?

• Your fees and expenses (including research, planning, development of materials/resources and meetings). Where division of your time is not clearly stated, ask for it. If the fees available to you are fixed, then a proportionate spread over these duties may inevitably mean less production/contact time unless the budget can be altered.

• Fees for professional services, facilities and/or equipment. Though with sponsorship you could get them provided as in-kind support, releasing the budget cost.

 

What are the flexible costs?

• Materials

• Production and Post Production

• Marketing and Publicising 

• Administration/Project Management

• Documenting, Archiving, Exhibiting

• Monitoring and Evaluation

• Dissemination

• Contingency

 

Are you on time and on budget?

​

Taking time to review a project asks whether the insights offered are realistic and if the timescale of the project is also realistic. Because the timescale of a project often aligns itself with funding cycles or other external deadlines. Even with these restrictions there are often opportunities to extend dates and deadlines. Talk to the stakeholders in the project. It is prudent to start at a time that is considered rather than one written in a proposal several months back. Because in identifying if there is any flexibility in deferring the start, time may develop for further funds to be sought.

​

Where there is no luxury of managing time, a harsh assessment of whether or not the project can exist must be made. Working back from the deadline, if there are not enough hours to do the work, you must reduce the volume of the work. Additional money can be found but we are always restricted to the number of hours in a day. Most projects come in late – that is just the way it is – so if there is a fixed deadline, plan to meet it earlier, and work back from that date. Time can additionally be found by segmenting the project, in splitting the whole process into sections of a larger plan you may have the benefit of separating funds available for certain activities such as:

​

• Research, Plan, and Develop.

• Produce and Evaluate.

• Exhibit and Administer.

• Publish and Disseminate Outcomes.

 

It brings a sequence of events into order and their achievability into manageable activities. These rolled out over a longer timescale can allow for additional funds or partnerships to be secured for each subsequent phase, based on the success of the previous project as a ‘pilot project’ may enable you to legitimise the changes manifest in you managing the success and value of the project on the initial limited budget, and allow you to go back for additional funds to develop the ideas further in the future.

​

Additional funds can often be found late in the day. But decide whose role this is. Undertaking it yourself will have an additional cost of your time and efforts. Do you want to be a fundraiser? The options are:

​

• Ask for more money from the original sources.

• Look for either partnerships or opportunities ‘in kind’, either as support with products, materials, or services.

• Business sponsorship.

 

A wise thought is to raise an excess of what is needed in advance of the project. Do not just go for the exact costs of the project from one or two places. Go wider, at best twenty per cent more than what is needed. This allows for less than full offers and provides a contingency to review the budget upon starting it. Take control and remember, you have the choices to accept, reject or manage the projects you embark on. Take a lead responsibility in controlling the review and revision of the project considering your experiences with actual costs versus the budget. Manage this with some of the foresight that this guide suggests and in summary be assertive in valuing yourself and your knowledge. It might be worth considering the following project management principles. Seek:

​

• Clarity

• Agreement

• Communication

• Motivation

• Engagement

• Review

• Adjustment

• Completion

• Report

 

Make it work for you because approaching every project with the intention of success brings value to your developing career profile.​ Fundraising is a competitive activity – there are always more applications than there are funds available. This guide introduces you to the main funding sources and offers guidelines to help you make winning funding applications. In fundraising and trying to generate financial support for what you want to do, it can be very time consuming in developing an efficient method of sourcing funds which will make the best use of your time – freeing you up to develop your practice and projects – and will increase your likelihood of success. Securing funding is a process of:

​

1. Making a case for your project.

2. Making applications.

3. Awaiting assessment and feedback.

4. Working with funders if the application is successful.

 

Research your sources:

 

Always make time to do research on potential funders – you need to match what you are doing to the aims and objectives of potential funders. Keep a careful record of your research, as this will be useful for the next time you are looking to raise income. Take a note of all deadlines and ensure you have enough time to apply. Applications that have deadlines must be adhered to. Draw up a ‘hit list’ from your research – don’t waste your time on applying to sources which are unlikely to be successful. Instead draw up a top ten list of likely funders, and approach the top five, leaving the others as a contingency plan if you are unsuccessful. Before applying it’s important to establish:

​

• What is the potential funder interested in funding?

• What kinds of activities will they fund?

• What approaches will the potential funder expect?

• What kinds of funding does it offer? E.g. start-up funds, running costs, capital funding, project funding, core funding.

• Are you eligible? For example, you might need to be a charity or be located in a specific geographical area.

• Whether you can complete your project within the required time period?

• Do you have the relevant financial and management skills and can prove it?

 

Three main sources of financial support for arts projects are:

​

• Public Funding

• Grant-Making Trusts

• Commercial Sponsorship.

 

British Arts Councils offer funding schemes targeted across all art forms in a range of areas, including:

​

• Research & Development.

• Individual Artists.

• Projects.

• Arts Education Initiatives.

• Organisations.

 

Visit any relevant websites for current information because grant-making trusts are charitable organisations, registered with the charity commission. Trusts usually set out to create change, promote a better quality of life, or realise the potential of individuals and communities. Always bear these factors in mind when approaching them. This focus makes trusts as interested in small projects as large ones. The areas a trust can cover are:

​

• Education.

• Health.

• Social causes.

• Development and housing.

• Arts culture and amenities.

• Religious activities.

• Environment and animals.

• Civil society.

• Law and advocacy.

• Science and technology.

• Philanthropy and volunteering.

 

Remember that the arts can take place within the remit of other categories. All trustees receive more applications than they have funds for, so you will need to target what you are doing. Always take the time to analyse each trust’s criteria as the company's support could be in the form of:

​

• Donations.

• Advertising e.g. buying advertising space in your printed material or website.

• Staff secondment.

• Corporate membership or entertainment.

• Media sponsorship, e.g. advertisement in return for promotion of that publication or journal.

• Sponsorship-in-kind e.g. for specific materials.

 

Companies will have some specific reasons for sponsorship:

​

• To advertise a name or brand.

• To improve their public image.

• To make new contacts.

• To reach a new client base.

• To give a good local image.

 

Raising sponsorship:

​

Think about a price for sponsorship. This is difficult, so take the time to research similar sponsorship/donation arrangements. In your proposal say how much money you need and offer a sliding scale of prices.

 

Establish why the company will want to sponsor you – remember both parties need to benefit. Link the company’s target market to your potential audience. State the advantages of involvement. Ask the company to sponsor a cost centre that is exciting or ‘worthy’ e.g. education or commissioning of new work. Think about what you can give the sponsor in return e.g. publicity, limited-edition artwork, special events, promotion of a product to a specific market.

​

Treat sponsors as one-off assistance, but at the same time don’t burn your bridges. Think local first, then plan ahead. Include a cover letter saying what is enclosed with your proposal, how you found the company, your contact details. Give a specific day when you will call to follow things through.

 

Always draw up a written contract following any verbal agreement. Make sure that all conditions of support are specified – it makes things much easier in the long run to keep in contact with your local Arts & Business who look to spark new relationships between commerce and culture. They can also provide advice, and sometimes will be able to offer a matching scheme.

 

When it comes to funding proposals you need to prepare your case for funding – funding is competitive, so demonstrate your project is viable, achievable and has long-term relevance to your practice, to audiences, and to the development of cultural practice. Try to define your project as an identifiable, unique project for which you have developed a practical plan of action. Your proposal must communicate:

​

• A demand for your project.

• How you fit into the funding criteria/profile of the funder.

• Why your working with your chosen audience and artists.

• Who you are.

• Your goals.

• Your monitoring processes.

• Detailed costs.

• Detailed time schedule.

• Ensure your project has further potential.

• Be clear by demonstrating that you can do what you are proposing.

 

Some funding programmes will have application forms, others will not so follow this format to make sure that you communicate the right information:

 

Introduction:

1. How the project come about

2. Justify your project.

3. Introduce your time scale.

4. Introducing partners.

 

About you:

1. Remember the funder probably knows nothing about you.

2. Describe your background and experience.

3. Outline your current activities.

4. If an organisation – describe your legal and financial status.

 

The project:

1. What are your aims?

2. What relevance does your project have?

3. What do you hope to achieve?

4. Who is it for?

 

The process:

1. Time schedule.

2. Working team and roles.

3. Location.

4. Methodology.

 

In the evaluation ask, how can you learn from your project, and how can you measure if you’ve met the aims? Outline the budget by stating what your expenditure is and where your income for this project is coming from?

​

Moving on:

 

Make sure your project has a clear end. How will you move on from this project? Funders like to feel that their input will have a long-term effect – this will inspire confidence.

​

It’s good practice to ensure you have the full funding guidelines for each application. Analyse the funding criteria in detail before filling out forms. Always indicate why you are approaching each funder and adapt your case to the guidelines. Always keep a copy of forms and application letters for your own reference. Ensure any additional material is included, e.g. reference letters, equal opportunities statements. If visual material is requested, make sure you follow the stated format and volume of the material and remember to title/credit each digital image, submit applications to the deadline, don't  push the funder for an answer.

​

Assessing applications:

​

Funders will filter applications and will automatically reject those who do not fit. They will assess your application in terms of you fitting the purpose of the target/funding profile, ability to realise the project and the quality of your project, because if they can justify their support any funder will need to have confidence that you can achieve what you set out to do. If a funder supports you there will always be terms and conditions which will be outlined in the contract. Always make sure that you can fulfil your side of the contract before accepting the funds.

 

Remember to always involve your funder and cosset the contact for future applications. Thanking sponsors and providing them with full documentation is essential. Most funders will ask for an evaluation report, and it is good practice to include this whether requested or not.

​

Writing a clear proposal:

​

Write a few bullet points summarising your proposal at the beginning. This will give the founder a clear snapshot of what you want to do from the start, and try using a table to outline your timescale, with columns for activity and when you are doing it – it’s amazing the difference this can make in clarifying what you want to do and when.

​

If you have the luxury, leave your draft application for a week or two. When you come back to it you will spot the gaps and weaknesses yourself and be able to make appropriate changes and get someone else who doesn’t know your project and who will give you honest feedback, to read your proposal before you submit, remembering to give yourself time to make any of the resulting changes.

 

Don’t make generalisations, be specific and articulate your idea/concept clearly and succinctly without going down the path of any hermetic or high-theoretical language, and for every claim made in the application make sure you include evidence, i.e. letters of confirmation and support, quotes for costs.

 

Compiling a realistic budget:

 

To ensure you have included all the expenditure for the project and planned it thoroughly, think your way through what is involved to make it happen literally, possibly even day by day, so write down headings for each element of your project e.g. research and development, making, installing, and marketing. Under each heading include all the minor details, like people serving drinks at private view and to stuff envelopes for the mail-out, money needs to be allocated to each of these, if not it can be a service in kind which has a value in a budget.

​

Make sure that you budget adequately for your time. There is no point in being successful with an application only to realise that you don’t really have the funds to cover it, but equally, your own time can be a very good source of match funding. Look at what time, if any, you can afford to give the project in kind and write this in as match funding at the suggested daily rate for artists. This can prove a very useful way of finding some, or all, of the suggested ten per cent match funding.

​

Incorporate costs for research/familiarisation/consultation time to inform initial design ideas and profile the value of mentoring/working with local artists at cost to support the local creative economy, and make sure your budgets tally, I am amazed from my experience how many applications did not add up!

​

Ask for as much money as you need. Don’t compromise on either budget or the idea to second guess the selectors priorities, but be realistic, include all relevant costs, but also be aware that there is always high competition for funds and that smaller grants are often more successful. It is a fine balance and sometimes it is possible to discuss these aspects in advance with the funder.

​

Speaking the language:

​

It can feel a little false to reflect the same language used in the application guidelines when you answer each question, but it is important to do this. It will make it easier for the officer judging your application to ‘tick the boxes’ when assessing. So read any guidelines with a set of highlighter pens i.e. really analyse what they’re saying, highlight key words; listen to the way they’re saying things; hear the nuances and the emphases; develop a sense of what they’re looking for. Having ‘tuned in’, use the same words and phrases, nuances and emphases in your proposal or application.

​

And make sure every question raised in the guidelines is answered in the order that they are asked. Don’t be afraid to repeat yourself if you need to, sometimes the same information answers more than one question.

 

Outcomes and evaluation:

 

Look at the funder’s priority areas, you won’t hit them all, so just focus on those that cover your project when describing the public benefit of a project. It is wise to think in broad terms and identify the groups or communities the project will touch throughout its life from inception to completion. Drawing up a list of these people will make identifying and assessing benefits easier and think about and articulate how the project contributes to your long-term career development as an artist.

 

When it comes to benefits from the project, it is very easy to forget that you are allowed to benefit too. Whilst activities will generally be of benefit to an audience, community or whoever, the fact that you, as an artist, are being given the chance to undertake this activity, will reflect positively on the region in which you are based, feeding into the profile of the area. This can be written as a benefit into your application. Evaluation doesn’t have to be a feedback form, it can be an event or a publication, and you can include money for it in the budget. A useful way of evaluating research and development is to pay an artist/curator who you respect to meet you and discuss how your project is going. This is also a good way to make links with people and organisations.

​

Research tactics:

​

Read the job description of the type of officer who will be assessing your application. Usually you can find one of these by looking for such posts on the Guardian Jobs website.

​

Remember when answering the questions in the form that your personal creativity, whilst the focus of your art school education, is rarely what public funding is there to support.

​

Find out which funding bodies are suitable for your project and try to speak with all of them. Discuss issues such as eligibility, percentage of overall project costs they might fund, the amount of grant they normally give and how they view in-kind support.

​

If applying to a trust or foundation, find out what the success ratio is. Some trusts and foundations may fund as many as one in three proposals, others may receive fifty-plus for one award. Judge the likelihood of success before committing time to an application.

 

Some of the Arts Council regions offer surgeries for first time applicants and there are organisations in the APD network that will offer advice. It is also crucial to contact the appropriate Arts Council officer and get as much information and advice, as they are willing to offer.

​

The next steps:

​

If you have an application rejected, don’t think that it’s the end of the line. Take on board the advice from the letter you are sent, speak to your visual arts officer, and rewrite your application. Because sometimes, there are too many good applications and not enough money to fund them all in that round, in which case you can ask your visual arts officer if it would be a good idea to resubmit the same application, learn from the process and use it to hone your application writing skills. And remember to also ask for feedback on applications that HAVE been successful so that you can both understand and develop your skills.

​

If sales from your events are few and mostly of low-priced items, try and foster contact with artists, curators, and collectors for future projects. Feedback and discussion about your current work:  Deadlines to encourage you to finish your work: And reflecting on your work as you decide what to show from the past year, can be of  benefit as a thorough ‘tidy’ of your studio space. 

​

Make the time to visit with friends, artists, and collectors by finishing work early. Leave time for oil paintings to dry, for instance. Pick a day to stop making so you can start on with the rest of the stuff. Remove old screws from walls and patch and paint. Scrub the floor. Tidy and pack away. It’s about making it welcoming and pleasant and making the art look good. Select only the work you will show, and show only the best, old or new. Maybe get help choosing from someone whose opinion you trust. Have various price points. Show enough work to be full and interesting but not so much that it will be crowded.

 

Document the work in case it sells, and you can’t later. Photograph it, create titles, assign prices, and add to your records. Clearly label the artwork and price it if it’s for sale, and think clearly about your pricing. Some artists sell at wholesale prices during their open studio, but most artists do not sell cheaper at their open studios than they would anywhere else. Selling at the wholesale price undermines your retail prices and can confuse collectors and curators as to your price range. Also, the expenses of the event will need to be covered and that is in half the retail price.

​

Some artists cover their costs at an event by selling greetings cards or small prints of their work. The type of open studios event it is, and the location will influence how much people are willing to spend on impulse. Frame works on paper if appropriate. Maybe use a print browser and easels for display.

​

People love to see how things are made, but you can’t demonstrate making and still chat with your guests at the same time, so consider displaying in-progress work with an information card. If you choose a good example of a stage in your process it will also help you answer visitor’s questions, as you have something to point to. Consider putting out a sketchbook for people to look through or a portfolio of past work. Put out free postcards with an image of your work and contact details or business cards. Visitors book/mailing list sign-up. Artist Statement and CV have a copy out for people to read and a few extras to give with purchases. If you are in a building with many artists, a door sign with your name and contact details is useful for people to find you. Have bubble wrap and tape for packaging sold work. A receipt book and change. Wear a name tag (this is mentioned by so many artists), for your assistants also. Make sure the work is well lit and easy to see. Cordon off areas that are off limits (I use a few white sheets as drapery.) Chairs for resting or visiting. Water and snacks will be welcome if people are travelling around many spaces, but a banquet is distracting. Have Trail guides to give out to help people on their way to the next venue. 

​

Invite everyone! Use your mailing list to tell people you have participated in many exhibitions and events, as a surprising number of people do not even tell anyone they are in the show. The biggest challenge for most events is getting visitors, so spend some time getting the word out. After you have done all the artwork and all the event organising it would be a shame to have few visitors. Send out a press release. Announce/post show everywhere. Create a Facebook event page. Tweet/post regularly. Put the full information on your website or blog. Photograph your space when it is all set up to use on social media for publicity. 

​

Be prepared to talk about your work and about the story behind each piece. Be prepared with answers to awkward questions like: How long did it take to make? Why does it cost so much, what does it mean? Can I pay in instalments? Can I get a discount? Do you take special orders? I don’t understand art/my child could make that. Sometimes they are genuinely interested and don’t know how to get the conversation started. If you have thought about them in advance, then you can give considered answers or direct the conversation the way you want it to go. Be friendly to everyone. Introduce yourself to strangers. Acknowledge new visitors if you’re busy. Avoid being monopolised. After you’ve made a sale get all your new collectors contact info. A form to fill out with a few questions has been suggested. Update your website in advance as you should get many new visitors right after the Open Studios if you have given out cards. Get contents/liability insurance sorted, if necessary. 

​

Debrief as soon as it is over and make notes for next year or you will forget something that you thought was such a revelation that you couldn’t forget it. Save signage if you can reuse it, and follow up on all commissions and obligations right away, by emailing your new sign-ups to welcome them. 

​

The jobs and opportunities market is tough and there's a lot of competition, because artists are having to work hard to locate and win the opportunities on offer. Being successful often depends as much on who you know and how you promote yourself as it does on responding well to a call for submissions. Here’s some of the tactics you can use to gain an edge during your own search for work and opportunities.

​

1. Broaden your horizons: don’t limit yourself to things you’ve done already, but think about your transferable skills and experiences, and see how they relate to a wider range of work opportunities on offer.

2. Professional development: look strategically into professional development and training opportunities that not only increase your employability but enhance your CV – apply only to those that are a good investment.

3. Be open-minded: thinking laterally may get you into new contexts. Once you get your foot in the door, you will then have a chance to prove yourself.

4. Think ahead: research those in your chosen field or location and find out what they are doing and about their future plans. You may get into their grant application as a named collaborator, rather than have to wait for the open submission.

5. Cast a wide ‘net’: General job boards can be useful but be aware there’s a lot of dross to wade through and that industry and trade association web sites like a-n’s have the more targeted career opportunities.

6. Network online and off: Tell everyone you know that you are looking for paid work and interesting opportunities, whether in person or using your social or professional networking sites.

7. Manage your digital footprint: Think your friends are the only people who viewed those less-than-professional holiday photos you posted online? Think again. With a few mouse clicks, potential commissioners and employers can dig up information about you on blogs, personal websites, and personal networking site profiles. Make sure you do a thorough self-search and take any necessary corrective action.

8. Customise: Tailor your CV and cover letter for each opportunity. Employers want to see why you’re the right person for their job, not everything you’ve ever done.

9. Enhance your marketability: Find out what skills are most in demand and take steps to give yourself an edge in these areas. Focus on sharpening both functional and interpersonal skills.

10. Get into a conversation with organisations who employ artists and arts freelancers: These people can provide useful feedback on your CV and prospects, know what’s coming up within their own organisation and across their network. Some may provide informal ‘mentoring’ and advisory opportunities, so it’s worth asking.

 

Artists, collectors, gallery directors, curators and dealers offer tips and guidance on selling your work and maintaining relationships with clients and collectors. Take the time to learn what interests collectors have i.e. which practises and works they are most drawn to, so you can tailor your approach and avoid bombarding them with everything you show.

 

I would recommend keeping a contacts database and emailing list for everybody you’ve met who has shown interest in your work. Wherever possible, keep some private notes on more detailed background info on that person, such as where you met, what you discussed, any info they gave you on their interests, home, family, collection or general art interests and if you have any shared interests in particular. If it’s somebody who has bought your work before, keep a record and remember what it is they said they liked about the work, as this will help when you make a new work and want to share it with a few select people.

 

When you make a new work, do send it to collectors, curators and interested people before you put it on your website. This helps build that relationship and ensures they are getting privileged access to your work and developing a line of enquiry.

​

Do send good quality images from the studio as this could make a difference between a sale or not and whether they fully connect with what you’re doing. Sending an image of new work is also a good excuse to invite them to the studio to see the work in the flesh. It also gives you important feedback, (but only do this if you are ready for other people’s take on what you’re doing!). Make sure you have a sense of titles, prices etc. Before you send images and have them in your studio. This avoids both embarrassment and selling the work too cheaply.

​

I’d also suggest being generous in relation to other artists and your knowledge – collectors are always keen to know artist’s opinions on other artists and exhibitions, this is how they learn and stay connected. Do be kind to your peers! Artists supporting other artists builds long sustainable networks and so staying on top of what your peers are doing and visiting other’s exhibitions is really crucial.

​

Artists reward each other’s generosity and often this can lead to shows, introductions to other collectors and writers. Collectors talk to lots of people in the artworld, so it’s good to be a touch point and build friendships where possible, as they will support you, even when they don’t buy something.

​

This is a working relationship that I personally find works best for me, however that doesn’t mean I completely hide away behind a closed studio door! I find it both enjoyable and beneficial to welcome the wider society, and if there are direct enquiries about purchasing works, I will direct them to my website.

​

My experience working with my gallery is not just about financial sales, it is also about ongoing support for you as an artist and the development of your career.  Also, when someone buys my work it has a long-term effect as it is a belief in my practice and enables me to continue with my work; this is one reason why I always enjoy meeting those who have collected my work, and like to keep in touch over time to show them how my work evolves in the future.

​

I believe it is paramount to have high quality images of your work. This is often how many collectors first see an artist’s work. It is a good way of demonstrating that what you do matters, that you are serious and professional in intent; the photographs of your work speak for you in your absence. Obviously, employing the services of a professional photographer isn’t cheap but it is worth the expense, not only for sales. As before I became a commercial gallery, I was also committed to, and invested in, the work and appreciated it beyond being a technical exercise.

​

When I left my studies, I wanted time to establish myself in my studio and to learn how to do my work outside of college and to understand for myself what I was doing before thinking about commercial representation or the market. However, like any emerging artist, I knew I had to make an income.

​

At this early stage in my career I took the decision to work with a freelance curator who could handle some of this for me. There was no contract, but an informal agreement to give them a percentage of income from any work sold directly through their involvement. It proved to be a mutually beneficial relationship for both our careers.

​

I’ve sometimes seen work I’ve liked and the more the artist has spoken about it the less I’ve liked it. Other times work that hasn’t initially engaged me has really grown on me the more the artist has spoken about it – to the point of purchasing.

 

I bought an artwork for just under £200. A year after I’d bought the work it began coming away from the mount very badly. I contacted the gallery, and they contacted the artist. They all offered advice as to where I could take it to be remounted – but didn’t offer to take responsibility for it. I suggested to them I felt it was their responsibility to pay for the remounting work as this wasn’t ongoing conservation but correcting a fault in the original mounting. Really, I thought the artist was going to jump on a train for £60 and spend half an hour putting it right. They squirmed so much on the issue I stopped asking in the end and sorted it myself at my expense. I won’t buy from that gallery and artist again.

​

I went to a gallery opening once and they were running round finishing the show just in time for the VIP collectors to arrive. They’d done everything just in time – except print the price list. After half an hour all the potential collectors left – still with no price list. Have a think about your priorities. Do those priorities change depending on the circumstances at any given time?

​

I had to send one artist five emails asking for a certificate of authentication. I used the word ‘unprofessional’ at one point. It would have taken him less time to send me the certificate than it took him to write the emails explaining why he hadn’t sent it. In one email he told me he’d been very busy with work. We’re all busy with work! And anyway, wasn’t sending me a certificate of authentication part of his work?

​

One artist I know makes an interesting image each year he sends round as an emailed Christmas card. Some artists I follow on Instagram follow me back and it’s a good way of me noticing that they’ve noticed me, as it were. We’re on each other’s radar. Surprisingly few artists keep in touch.

​

First, we must like the work! It helps if the artist is present and can also talk clearly about the work, giving it context. If not the artist, then a knowledgeable and empathetic gallerist can be a good substitute.

​

The price needs to be realistic and accessible, which is not to say it must be cheap. It should reflect the time and effort that has gone into it and be appropriate in relation to the artist’s stage of development.

​

We buy art that we like because we want to support the artist and encourage them to continue making work. We always want to see what they will do next. The works we buy are not in storage; they are on our walls, shelves, and tables.

​

Artists are in the best possible position in the art world when it comes to having a privileged relationship with a collector. For the clients I deal with, talking to the artist is the primary emotional driver. However, if you struggle to speak confidently or passionately about your own work and practice, I will seriously recommend you find someone else you trust who can. Most collectors or art patrons I have worked with want to meet people that love talking about art and exchanging ideas.

​

It is of course not particularly healthy to be thinking about sales when you are making work, but later on it is good to think about how you would deal with a purchase enquiry. Collectors can be quite adventurous in what they will buy, particularly if they see it as a way of supporting your practice, so it helps if you can be clear, confident and straightforward in your response, even to unexpected enquiries. And if you are open to negotiation, then say so, perhaps giving parameters: ideal amount, minimum amount etc.

​

Sometimes a relationship starts with a sale, sometimes it culminates in one, sometimes an ongoing exchange is fruitful on its own terms. In all cases it is vital to stay in touch: develop a mailing list, and if someone gives you their email address, make it a priority to send them details of news and subsequent shows. It amazes me how few artists have stayed in touch in spite of an express invitation to do so!

​

Compare, compare, compare 

 

Buyers will often compare artwork for sale so it should be key for you to do this too. Look at artworks like your style and size by artists with similar experience and see what they are charging. Ensure you spend time doing this and look across several galleries and artists. The internet is a helpful resource for this.

​

Value your experience 

 

Experience counts for a lot, especially if you have a sales history. It should tell you what you could expect from your work and the market. However, be sure not to jump up in huge increments as no one likes to see work having to be reduced in price“ it is a real put off for buyers. Steady and realistic increases should be rolled out over time. Any good gallery should help you with this if asked. 

​

Gallery Commission 

 

Be sure to factor in the gallery’s commission in the sales price rather than slap it on top at the end as this will often make your pricing unrealistic. On this note “ always make sure the commission is fair for both parties and you know any other costs the gallery charge. Only ever charge a commission when the work is sold and NEVER charge a membership/sign on fee, but some do so be sure to check and adjust your price accordingly.

​

Start timing what you do 

 

Almost all other skilled traders charge for the skill and time on some form of day/hourly rate. Figure out how long you spend working on a piece and apply an hourly rate, this is something a lot of artists overlook. Of course, you need to be realistic with this but just bear it in mind as you work on it.

​

Materials 

 

Recovering the cost of your materials should, without doubt, be incorporated into the sale price of your work, this is particularly key when framing comes into play as buyers expect to pay more for both high quality materials and framed work. We always recommend using the best materials you can sensibly afford and tell buyers/galleries that you have used good materials as it helps justify your selling price.

​

Delivery 

 

Something to make very clear to the buyer from the outset is if delivery is included or excluded from the sale price you give. It is also important to make it clear if delivery is international or UK based. There is no need to worry about delivery “ we work out the delivery charge and add it to the sales price our artists provide, leaving the artist free to focus on successfully pricing their work! However different galleries and buyers work in different ways so be very clear about delivery. We also suggest offering to ship overseas (to increase your prospect base) but for them to contact you so you can sort out a bespoke delivery cost for them.

​

Apparently art galleries do want to look at new artists' artwork! Running a gallery should be a healthy mix between managing current artists, finding new artists, finding new buyers, and servicing existing buyers’ as priorities often change, and often on an hourly basis. So it is key to grab the gallery's attention and keep it. Some galleries have times of year where they look for new artists but good, yet proactive ones will always keep an eye out.

​

Consultants and curators advise on how to generate sales and develop a market for your work, through building relationships with clients and collectors.