Sorry, I was just grabbin' up a quick snack. I needed an awesome web site header and just couldn't get out of the office. This one looks okay. And, it was cheap.

I recently read something about "crowdsourcing." It's where a business throws out a project to a mass audience and reviews the results, paying for the one that strikes their fancy.

So in one of these scenarios, a company who needs a logo but has a very tiny budget goes to a web site, describes their project, and names their price. Soon, oodles of options start pouring in (one site says the average is 68). The company can even ask for revisions before choosing a final design.

I looked at some of the sites. The rates are pretty good and there are some great designs happening. Everyone should be happy, right?

Think about this. On both sides of the coin, something is missing, folks.

It's called a relationship.

You ask someone to critique it.

Yep. You solicit feedback. Ask for comments. Get a fresh perspective (because, as Anton Ego would painfully remark, you're probably "fresh out.")

Listen, I get it. You're awesome. Your work is trippin-dicular, Dude. You rock the casba, rock the casba.

As an artist, a certain amount of confidence in your work is essential. You can't go around meekly asking everyone, "Is this okay? Do you like this? Do you approve?"

You wont get anywhere and you'll get smashed down by those people who love to smash meek approval-seekers. On the other hand, well-meaning friends and moms who want you to be happy will pump you up with praise that may or may not be warranted. "Everything you do is art!"

You won't get anywhere, but you'll feel better.

What to do, what to do...

One thing you can do is seek out honest feedback from people who understand your market and your industry. Last week, a small group of Portland illustrators got together with the sole purpose of reviewing and critiquing each other's portfolios. Okay, there was beer, too. Dual-purpose, admittedly.

 Most of us are trying to learn more about the children's publishing market. This kind of small, focused group is perfect because everyone is speaking the same language. Throw a tattoo artist or animator in there and it wouldn't be as effective for them. Personally, I got some totally fresh perspective on my portfolio that I was able to apply right away.

Things I didn't see. Stuff I hadn't considered. Feedback I needed to know.

We've also decided to start meeting on a monthly basis. Another rock-solid benefit of a group like this is, well, simply the people. We now have a small tribe of individuals who share a goal, will cheer each other on, and still be honest enough to say, "I don't think that's working for you. Did you try..."

It doesn't really matter what level you think you're at as an artist. You think you're awesome; here's what you need to work on. You think you suck and don't deserve to be at the same table; actually, your stuff is pretty cool. Either way, you need someone to tell you.

Artists have the worst time accepting feedback on their work. It's inherently subjective and tailoring art to appeal to the masses is exceptionally difficult, if not impossible (and why would you want to?). That's why it's so important to seek out the feedback. Don't let yourself get trapped in a repeating pattern of sending out samples that just aren't working for you. You have a whole lifetime to try new things, improve your skills, learn about your audience.

Are you an animator? Find a local group to compare notes with. Tattoo artist, graphic designer, writer? You have a group out there, too, you just have to find it (and put it together).

My favorite Storyboard Artist Karen J. Lloyd also talks about that most awesome of teachers, Feedback. Learn something from her!

A quick shout-out to my PDX Illustators group. You all rock the casba. Thank you for showing up and telling me what I needed to know.

www.joshfitzart.com
www.cloudcoverstudio.com
www.rebeccashapiroart.com
www.tarareeddesigns.com
www.karynservin.com
www.addiekay.com

Creative businesses are fun! But, like any other business, creative businesses still require a lot of hard work. Most of us start a business because we’ve found something we are good at and passionate about, and we want to make a living doing what we love – for example, turning a favorite hobby into a business. Unfortunately, we often forget that there’s more to running a business than just doing the stuff we love.
 
It’s easy to get wrapped up in the creative side of what we do and neglect the business side. If you want to make money and move from “hobbyist” to “entrepreneur,” here are some tips to help you make the transition.
 
1.      Take yourself and your business seriously
 
Carry professional business cards, and not the free ones that have a generic template and advertising on the back. Put up your own website, even if you’re using a third-party seller. Get over the discomfort of approaching retail shops, galleries, media outlets and other professionals who can help you grow your business. 
 
When people ask you what you do, tell them! “I’m an artist.” “I’m a handbag designer.” “I’m a writer.” Don’t shy away or show embarrassment just because you might be struggling, or don’t yet feel “successful,” or still have a part-time job. Hold your head high and be proud of your creations! When someone admires your necklace say, “Thank you, I’m a jewelry artist.”
 
2.      Charge what you’re worth
 
If you keep your prices low from fear that no one will actually pay what your work is worth, you might as well stay a hobbyist. You have to take into account your materials, your labor, your overhead, your health insurance (you want health insurance, right?), vacations, family needs, retirement funding, and your general lifestyle. How much money do you want and need to make to have the kind of life you dream about?
 
You undermine the value of your work when you price according to fear and discomfort rather than looking at your own needs and what the market will bear. You also, by the way, undermine other creative entrepreneurs. Your customer then expects that every other soap maker, graphic designer and illustrator should offer their wares for the same low prices you do. So you hurt yourself by not bringing in as much money as you should, and you hurt the industry as well.
 
3.      Learn all the aspects of your business, even the parts that aren’t as fun
 
As I mentioned above, most of us start a business out of passion and excitement for what we do. And it’s infinitely more fun to play with paint, experiment with designs, shop for materials, mix flavors and visit galleries than it is to pay invoices, maintain your website, and send out press releases.
 
I’m not saying that you have to do all of those things yourself. You can outsource any administrative task, hiring contract workers or a virtual assistant for example. Have a bookkeeper do your books, a web designer update your site, a rep sell your products.
 
However, knowing the basics of how your business works will protect you from quacks, scammers and other shady or unprofessional types. Also, if you’re without help for a period of time, it’s great to know how to add photos to your website, place a magazine ad or balance your books.
 
Being an entrepreneur can be frustrating, exhausting and gut-wrenching. It can also be exhilarating, rewarding and an amazing learning experience. Take pride in your work, take pride in all of your successes, and be willing to learn and grow. See yourself as a businessperson as well as a creative soul, and your business will flourish.

Lisa Braithwaite is a public speaking coach working with individuals and groups to build their skills and confidence as speakers. Her philosophy of public speaking is that it's fun, it's an awesome way to express yourself creatively, and that authenticity and passion are worth more than a thousand techniques. 
 
Before launching her public speaking coaching business in 2005, she worked in the nonprofit sector in Santa Barbara for 16 years as an advocate, educator and trainer, creating and implementing programs, curricula, and training materials for nonprofit organizations. Her areas of expertise in the field of training and education have involved gender equity, domestic violence prevention, media literacy, adult learning principles, and communication skills development
 
In 1997, she co-founded Body Electric, an organization promoting sports, physical activity and gender equity for women and girls. In 2003, Lisa was honored for her work with Body Electric with the Louise Lowry Davis award, named for a pioneer in women’s sports. 

A lifelong jewelry artist, Lisa was the creative force and the "LB" behind Elle B. jewelry from 2004-2007, when she made the difficult decision to close up shop to focus on her coaching business.

Lisa received her B.A. in Theater from Pomona College and her M.A. in Education from UC Santa Barbara.

Website: http://www.coachlisab.com
Speak Schmeak blog: http://coachlisab.blogspot.com

They sometimes assume is that I'm successful because my work is good. Without even seeing it they think that because how else could I afford pants and deodorant with change to spare if my work sucks?

While it's true that you need to be at least a pretty good artist to make a living at it, that's only part of the story. 

The most important element in being a successful independent artist is communication.

First and most obvious, it's the artist's job to communicate something (emotion, direction, concept) to the viewer through images. If that's been done effectively, then everything else is subject to the eye of the beholder.

The other side of the communication coin is being able to sell your work by successfully relating to other people. This is the element that so many independent artists (and some other business owners) need to develop further.

You may be the best illustrator on the planet, but you won't sell your work if you can't communicate well.

So simple, right? It really is and anyone can improve their speaking and writing skills with a little effort. 

Early in my career I got some feedback that I was being too formal with clients. It sounds funny, but I had to learn how to relax and be "real" to communicate more effectively. It finally took hold after my boss told me to get the pole out of my ass when I was on the phone.

I could say that his point was driven home, but that would be a bad metaphor. However, he was right and with more (gentler) guidance I learned that it's all about who you're working with.

Know Your Audience

If you're going to be in business for yourself as an artist, you'll interact with some of these people:

• Art Directors
• Editors
• Small Business Owners
• Web Designers
• Marketing Directors
• Ad Agency Execs

...to name a few.

These are people like you and me. They eat, sleep, and poop. The only difference is that they have their own job to do and guess what? They want it to be as easy as possible. 

Make it easy for them by communicating well and giving them confidence that they've hired a professional. Here are some extremely simple things you can do to get that confidence:

Somewhere Between "Dude" and "Ma'am"

Mom taught you to mind your manners, so show off your skills. "Please" and "Thank You" go a long way toward showing what a pro you really are.

However before you start sounding like Gomer Pyle, remember that there's a balance. Be real. Be yourself. If you don't sound natural saying, "Why thank you, that is most gratifying and agreeable," just say "Hey, thanks."

Like I mentioned before, you should consider your audience. There's nothing fake about adjusting your speaking or writing style based on the person you're communicating with. Always be yourself, but also think about how your message is received. A founding partner in a law firm usually doesn't enjoy being called, "Dude." Don't ask me how I know.

For example, I have two clients. One is a web designer (Chuck) I've known for a few years. The other is the head of marketing for a very conservative data managing firm (Nancy); this is my first project with her. I have uploaded revised designs for both to my FTP. Here's how I would communicate that:

Hey Chuck,

The revised files are on the FTP. I changed the face so he doesn't look clueless and stupid now. It was freaking me out, too.

Chat with you later.

Cheers,

David

###

Nancy,

I've uploaded the revised files to my FTP server as before. You'll notice that I changed the face so he looks a little more confidence-inspiring. I agree, it looks much better now.

Please call me if you have any questions or comments.

Regards,

David

It's not complicated and there really aren't any rules set in stone here. Sometimes you have to go with your gut and feel out your client. It would be a turn-off to Chuck if I was formal with him, just as the opposite wouldn't build confidence with Nancy.

Hey, Guess What I Did

When sending your concept sketches or final art to clients, try outlining a little bit of what you did in an e-mail or a quick phone call. If you made an adjustment to a concept sketch, explain why.

I'll always make small adjustments to an approved concept when I think it will improve the final art. Nothing wrong with it (in fact, I consider it part of the package). However, I always (always, always, always) let the client know what I'm doing.

Sometimes time constraints make it necessary to change things and tell the client afterwards, but as long as it's minor it's usually fine – as long as you tell them.

If clients are always guessing at what you may have changed, they'll start to lose that happy, comfortable feeling. They'll feel like you're trying to sneak something by them. Chances are they'll get pickier over time, or simply work with someone else.

Where Oh Where Did My Little Artist Go?

If you're going to work as an independent business person, you need to be available. That doesn't mean you're at everyone's beck and call 24/7 (unless you enjoy that. More power to you).

It means that you answer your phone during your business hours. You return voice mails as soon as you are able. Same with e-mails.

I've heard from more than one Art Director that they were shocked at how slowly some artists responded to e-mails offering magazine illustration. One Art Director told me a story about an artist who responded to her e-mail after three months, wondering where the contract was. When they don't hear from you, they'll simply move down to the next artist on their list.

If you're gonna be in the show, don't miss your cue.

Save the Drama for Mama

On a scale of 1 to 10, try to guess how high an art director ranks your personal problems?

Whatever you guessed, it's lower.

Having a friendly, informal relationship with your clients can be very rewarding. It can improve your work and help snag those future projects.

However, no client wants to hear how you couldn't get the final art done because your son's band practice ran long and you couldn't find your keys. Your lengthy excuses are merely translated as, "Artist didn't deliver, I have to explain to my boss. Crap, this day sucks."

As tempting as it is, don't vent your frustrations to you client. You may be vexed by a buggy brush in Photoshop, but your client doesn't want to hear that. If the art director you're working with is a Photoshop geek, it's fine to recap interesting Photoshop anecdotes after you've delivered the work, but only (only, only, only) if you've solved the problem. By all means share the tip. It makes you look like an expert in your field and a problem-solver.

Follow Up

When a project is done, don't let the last communication be your invoice. After they've paid, thank your client and ask how your contribution worked for them. It's more about them and their world than it is about getting more kudos for you (hopefully you got some in the first place).

Make it snappy and show them you care about more than the cash.

It Never Ends. Ever.

I find that I'm constantly developing my communication skills. There's always room to improve, even for the most experienced artists and business people. I don't agonize over it anymore, but I do try to stay self-aware.

When I feel that pole inserting itself, I try to chill out and remember what a fun pole-less guy I am in real life. There's no longer anyone here to give me that subtle feedback, so it's important that I work to keep the poles out of my office in the first place.

Good communication is the foundation of any career. Whether you communicate well or poorly, people notice. Help your clients remember you as someone they'll want to call again.

Got any good communication tips or war stories? Please add a comment, I would love to hear them!

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