Oil Painting

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Eight questions to ask yourself before making the leap

You already love painting. Other people love your paintings. You can see it now—your art provides both enjoyment and an income stream. But, how do you intend to get started as a business?

First, there is no one specific way to go about doing this.

However, there are some essentials to getting started and creating a solid foundation. We live in a time and culture where an artist actually can build a financially stable career. It just takes a little bit of legwork (and resilience) to get there.

Answer these 8 questions for yourself when starting an art business to set yourself up for success:

What will your life be like once you’re running a business?

When many people decide to become professional artists, they don’t often realize that they are actually starting their own small business. But it’s true! You’re selling a product (artwork) to people (collectors) who find value in it.

And, like any business starting out, a business plan can help you map out all the basics.

Before you get started, decide on what your ideal workday or life looks like as a professional artist and business owner. Be honest with yourself about what you love doing, what you don’t mind doing, and what you refuse to do at all. Answering this for yourself will help guide you to more concrete plans. It will help you decide if you will enjoy and be good at fulfilling retail orders, doing commissions, or attending art fairs.

Grab your laptop or a notepad and start jotting down the plans you have for this new creative career. You can even use this handy outline we made just for artists.

What will be the key idea or offering of your business?

Answer this: What is your mission? How will you define success? What short-term and long-term goals will help you get there?

Be specific, and stay true to what you want out of an art career. Every artist will have a different answer, and that’s okay!

Defining and visualizing your art career in this way will help you see the natural progression of steps to take to grow your art business, not to mention alleviate the “deer in headlights” feeling that comes with taking on a big endeavor.

These answers will also help you craft an artist statement later down the line, which you’ll need for everything from show applications to the About section on your website.

Next, identify your target customer. When you figure out what your ideal client is like (the one most likely to buy your artwork), you’ll start to understand how you can promote your work more effectively.

Who is your target audience? (Who will support your business?)

Ask yourself these nine questions to narrow down who your buyers are and how to win them over, like what income levels can afford your work and where do these clients tend to shop for art?

Take your time on this! Your entire marketing strategy will piggyback off these answers—from how you reach buyers to the tone of voice you use to communicate.

There are a ton of different ways to market your art—newsletters, art fairs, social media, galleries—but not all of them might be where your customers are looking. Based on the profile of your ideal buyer, settle on a strategy that complements your art business and audience.

Do you have the right tools in place?

As a professional artist, you have to manage a full-fledged business. That means inventory details, which locations are showing or selling your work, exhibition dates, client contact info, sales records, invoices, expenses, call-for-entry application deadlines, your schedule—the works!

That’s why artists are notoriously labeled as disorganized. It’s hard to keep track of all these moving parts!

But a good artrepreneur will look for business tools to help keep them organized. And a tool like Artwork Archive, an art inventory software developed specifically for artists, makes all the difference.

Not only can you manage your art, locations, contacts, shows, sales, and everything else mentioned above, but you are able to generate professional reports like invoices and portfolio pages with the click of a button. Plus, get important insights into your sales strategy and display a professional portfolio that’s up-to-date with your latest work!

Do you have a handle on your finances?

Ignorance is bliss … except when it comes to your finances. Talking about finances can put anyone on edge, but it’s an unavoidable step in a viable business plan.

You can only spend so long ignoring the money side of your art career before you find yourself unfulfilled personally, professionally, and financially. The sooner you take the guesswork out of your financial situation, the sooner you can plan ahead for how you are going to sustain your livelihood. Plus, you’ll be able to set concrete goals for exactly how much you need to earn and save to cover your expenses.

In this section of your plan, write down all the potential costs associated with your new business venture, from supplies to renting studio space. Then make a separate list for your personal expenses—everything from house payments and groceries to date nights.

Once you’ve created your itemized list, you will need to formulate a plan for how you are going to pay for everything while your business is still taking off. It could be savings, joint income, grants, crowdfunding, selling a certain number of pieces, a part-time job, etc.

Remember, planning for financial success is the best way to make it happen.

Can you make a profit from your artwork?

Pricing can be one of the hardest things for artists to figure out. Figuring out how to make a profit can be even harder. But that’s the goal, right?

Here’s what you need to know:

First, know your costs and make sure they are covered in the price of your artwork. Costs you should remember to include (or you will have to pay for it yourself later) are your time, materials, shipping, and even framing when necessary.

Think of it like this: you have a unique skill set that people value and are willing to give you compensation in exchange for your services. Remember, you are providing a service along with a final product. Decide on a reasonable hourly wage that you would feel comfortable with and work backward. The US Department of Labor lists the average hourly wage for a fine artist as $24.58—you can use this number to help you estimate.

Second, try one of these art pricing formulas. Some justify a dollar amount for the size of the work, while others simply go off of labor time and costs. Your skill level and education may play a factor, as well. But no matter what formula you choose, always make sure there’s still a profit left for you at the end by factoring in your costs.

Third, price consistently. This will help you maintain a more positive relationship with galleries and collectors, as well as set wholesale and retail prices if you choose to go that route.

Have you dealt with all the legal stuff?

You’ve made the work and you’re ready to start selling. The only thing holding you back from building your art business empire is making it legal. Not everything about being an artist is all passion, creativity and freedom. The hard truth is, you have to deal with a lot of boring things in order to do the things that you love. One of those things is obtaining a business license.

Do a little research and decide what type of business structure you want to become. Many artists choose to classify their business as a sole proprietorship because it’s easy to set up and meets the needs of a basic studio practice.

The process varies from state to state, so head over to your local Clerk of Courts website, your state’s Department of Revenue site, and the IRS site to see what steps are required next.

TIP: Start a separate business checking account with your bank. That way, your business and personal expenses aren’t all mixed in together when it comes time to do taxes. And, don’t forget to save your business receipts and keep track of your expenses year-round!

And for whatever business structure you choose, be sure to double check that your business name is not already taken! We’re sure you don’t want to deal with any legal battles. Plus, you are going to need a website and social media accounts with a consistent art business name so customers can find you.

Do you have a way to promote yourself online?

You can’t have a business these days without an online presence. It’s the easiest place to find you and get answers, so people can take the next step and buy your art.

That means your website needs to be on point! We’re talking about high-quality images of your work, easily findable contact info, working links, and a clear and personable About section. All of these things work together to build your image, A.K.A. what people assume about you and your artwork based on what they see, often immediately, whenever they come into contact with your business.

If you aren’t a web designer, no problem! There are tons of sites these days that let you build your own website using beautifully designed, drag-and-drop style templates. Artwork Archive’s professional-looking Public Page feature links straight to your current art inventory, and you can even implement this gallery into your own artist website!

Having a successful art career is possible. Set yourself up for success and try Artwork Archive for free.

One day a painter friend gave me a linen panel. It was a primed with four coats of an oil based ground. It was beautiful. After that, painting on canvas from the hobby/craft store would never be the same. I was used to painting on canvasses that were very absorbent but I was happy to paint and had no other experiences to compare. So, for me, this oil-based linen panel was one of those “Once you’ve been to Paris” moments, life would never be the same.

The linen was applied to a Dibond ACM panel and that was as impressive as the linen. This Aluminum Clad Panel has a nice, clean, light and sturdy feel. And it is very archival. It doesn’t require several coats of sealer to keep the oil in the Masonite from migrating into the painting. It is priced about the same as Masonite and cuts easily on a table saw. What’s not to like?

Then came the harsh truth. Where do I buy this linen? It’s sold in big rolls and it’s very pricey. I buy small partial rolls when I want to paint on linen and that’s a special treat, but those moments seem to involve smaller paintings. For larger paintings, I’ve been experimenting with finding that same “linen experience” with an oil based ground applied to an ACM panel. I’ve discovered that there are a number of painters that are applying acrylic gesso to ACM panels, but there were very few preparing panels with an oil base ground. And so began my search to find an oil grounded panel that I liked.

The Process

An ACM panel comes coated with a polyester coating so you don’t have to deal with the oxidizing nature of the aluminum. To prepare the panel for the ground application, the glossy surface needs to be scuffed up. I use an electric hand sander with 320 grit sandpaper. I use very light pressure, being careful to not sand thru the finish into the raw aluminum. I wash off the panels with water and dry them and the sanding is finished.

Grounds and Primers

There are a number of grounds and primers that I’ve tried. The list involves Acrylic Gesso, Linseed, and Alkyd oil-based primers. The pigments are usually Titanium or Titanium/Zinc mix or an ever decreasing offering of Lead pigments. I try to stay Zinc free and most often choose Titanium or Lead-based grounds. I researched many of the archival materials sites online and called the manufacturer’s tech departments. I experimented with a number of grounds and acrylic gessos. They all worked well with slightly differing surfaces. The trick is to find the one that suits your painting nature. Then through trial and error, the task is to discover how to create that special “just right” texture.

The different ACM manufacturer’s tech articles that I reviewed all recommend an acrylic bonding primer. Sherwin Williams DTM B66A50 Bonding Primer was mentioned by several as was XIM/UMA brand bonding primer. I’ve been using the Sherwin Williams DTM B66A50. I like the aggressive bond it makes with the polyester surface of the panel and the very smooth, but toothy, surface it presents for the top coat application.

Today, several of the ground manufacturers are recommending that their acrylic gessos and even alkyd grounds can be applied directly to the lightly sanded ACM panel without a bonding primer. I’m sure that works well but I’m still partial to the DTM bonding primer and like the way it feels.

Application Techniques

To apply the DTM primer I first wipe down the sanded panel with alcohol using a lint-free cloth and apply the primer with a white 6” high-density foam roller from Lowes. I load the roller evenly by working it out on a large glass palette and apply several thin coats to the panel. I use a plant mister, if needed, to thin the water-based acrylic primer just a little. I usually apply 3 thin coats keeping the surface as smooth as I can.

For Acrylic Gessos and the Oil Based Grounds, I use the same roller and application method. I thin the oil-based grounds on the palette with a drop or two of OMS if needed.

By varying the viscosity on the palette and loading the roller differently, one can create a variety of textural experiences. There are many techniques to adjusting the texture, such as a light roll over the ground a few minutes after it’s partially dried. Also, you can experiment with different textured rollers, or try a heavier roller loading. Varying application pressure is also another variable. Keep trying until you find your favorite surface.

I’ve tried Gamblin Oil Based Ground, Windsor, and Newton Primer as well as several from Natural Pigments. They all worked well. I’ve also used Liquitex and Golden Acrylic Gessos. For Gessos, I apply three to four coats of gesso waiting about 4 hours between coats. Both gesso brands worked well. Gesso tends to be more absorbent than the oil based grounds.

For Oil based grounds the feel of the ground as it’s rolled out on the palette and onto the panel is different but the method and techniques are mostly similar. The time between coats is much increased as drying times are longer as well as cure times before painting. Usually, two to three coats are required. My favorite texture is a semi-smooth slightly pebbled surface, smooth, but not too smooth.

ACM panels are becoming more popular and are seen more and more in major art shows and galleries by major artists. There are several companies now offering finished grounded panels online. I’ve ordered several panels from Trekell.com and from other online sources. Each surface has a different feel and texture so discovering one’s favorite is the key.

Today, one can order a panel and not have to go through all the hassle and mess of prepping and grounding. And they are usually reasonably priced so “if” you can find the brand that has your “preferred” texture then your life is a lot simpler. That all works if you need a small panel that can easily be shipped through the mail, otherwise, you are on your own.

Each artist will have their own surface preferences. I’ve found mine in oil grounded linen but if I’m wanting something a little cheaper I can still find “my surface” by priming my own ACM panel.

What makes portraits of kids so delightful? Besides the fact that children are active and endearing, there are differences an artist needs to consider when painting a child’s face.  Proportion is especially important.

My early paintings depicted birds, flowers and animals, particularly my pets. More recently I find myself attracted to painting people’s faces,  including some of my favorite little people’s. These portraits of my grandniece and grandnephew are meant to show unposed, happy moments. Capturing their innocence is as difficult as capturing a soft, cuddly puppy.

Some of my favorite artists who are known for portraits of children include John Singer Sargent, Nicholai Fechin and Mary Cassatt. Sargent’s child portraits feel like a moment dominated by a person. Fechin has a remarkable ability to capture the essence of a child’s personality in paint, along with an intensity of feeling. Cassatt often created images of the social and private lives of women, with particular emphasis on the intimate bonds between mothers and children. My portraits are the children by themselves.

“I Feel Pretty,” an oil painting based on my photo taken at Thanksgiving, is a poignant reminder of my grandniece’s visit. Nora is a precocious performer. She loves to dress-up while at the same time perform her own creative songs and dances. This painting captures when it began several years ago at age 2.

The scene is her standing on the bench by the kitchen table with a small toy in hand. The light is streaming in from the nearby window. The gauzy tutu encircles her waste with the iconic beads streaming down from her neck. It was Coco Channel who once stated “A woman needs ropes and ropes of pearls.” Royalty won’t leave the palace without a string of beads. Who ever thought that this two-year-old girl understood how to transform herself into a princess?

For a painting that transcends time and place, I kept things fairly simple. The toddler is unselfconscious, standing in a casual pose. The way she carries her head is a major statement in body language. The 3/4 view of her face gives sufficient information of her gaze away eliciting a visceral response from the viewer. Her skin is unblemished, her cheeks are rosy and her blue eyes are large. I love her placid expression with her slightly opened mouth as if she is about to act out something playful. I used a pink color harmony with shades of green as a complement. Her bling and tutu offer visual stimuli with color and shapes. The beads help to illuminate her face.

For whatever reason, little girls are more often the subject of paintings. Perhaps little boys are too busy running around as pirates, as is the case with Nicky, my grandnephew in my next painting, “I Scream.”

Last summer while on vacation on North Fork of Long Island we took the children for several rides on the Greenport Carousel and afterwards treated them to ice cream. The day was quite hot. Nicky’s total focus on his long-awaited ice cream treat captured my attention. 

The store was on Main St. but because it was relatively quiet that afternoon, he could relax on the bench in front of the store. His frog t-shirt and seersucker shorts embody the summer season. Melting ice cream; melting hearts. Again my cellphone captured the moment.

The slight tilt of his head suggests his intense focus. The chubby cheeks are uneven on purpose to show the tilt. His gaze downward accentuates the size of a child’s forehead. His hands are deftly skilled for the task at hand. The BandAid on his knee suggests some previous activity typical of an active two-year-old. Like children all over, Nicky instantly felt healed once a Band-Aid was applied to his scraped knee. It serves as a symbol transforming his hurt into a time of well-being. Meanwhile his ice cream is quickly melting. I can’t stop thinking of the power ice cream has over children and, for that matter, adults too. His no-tie sneakers are ready to take him back in action once the ice cream is consumed.

In these two paintings, I chose to implement large images of each child at eye level on 12” x 16” linen boards. Each child dominates the moment for an impressionistic painting style known to Sargent. I use slow-drying oils with a bright palette of colors in both paintings. The blending and the brushstrokes are deliberate. I like to work slowly and softly building up various aspects of the painting. After building up the basic shapes, I go back to work more and more details. Learning to be an artist is a never-ending experience for me.

Having started painting after a successful career in computer engineering, I like to quote Steve Jobs (1955 – 2011) “The heaviness of being successful was replaced by the lightness of being a beginner again, less sure about everything. It freed me to enter one of the most creative periods of my life.” 

My journey continues but these two paintings are recent examples of more to come. I am totally loving being creative. Thank you for your interest. 

To learn more, please visit sharonrege.com

We all have them – our personal favorite painting, the baby, the one painting you were born to paint! Sometimes, we get lucky. The perfect combination of subject, composition, value structure, color harmony – it just works. That one painting may inspire an entire series. Before you know it, your authentic self as a painter, your style, shows itself. That’s what happened to me. The Chase is a painting of two kids wearing nothing but swim trunks chasing an ice cream truck. Everyone remembers the excitement of hearing the ice-cream truck’s song fill the neighborhood. “ICE CREAM MAN!”, we would scream, then run to find loose change and hope he didn’t get away. That painting has set the course for most of my work since. Childhood memories infiltrate everything I paint. If you are struggling with finding your voice and distinguishing yourself as an artist, maybe your favorite painting can be an inspiration for a series.

Over the past five years, I have immersed myself into several series of paintings rooted in memory, specifically childhood memories. They have produced enough work for galleries, shows, and studio sales. I’ve done a series of 70 small paintings about summer in the 1960s and 1970s; a series of ten summer drinks from the 1960s and 1970s; a series of 28 paintings of family on a 28-day road trip in 1972. Currently, I am working on a series of 12 paintings about school in the era of Dick and Jane.

Prior to painting, I threw pots. Lots of pots. I was a production potter throwing hundreds of pounds of clay a week fulfilling orders for gift shops all over the country and abroad. I had 18 sales reps selling my wares at wholesale prices which barely left any profit for all my hard work. My passion turned to excruciating work and before I knew it, I resented dry hands, sore back and the constant hum of my pottery wheel. I barely slept. Something had to change. I decided to paint. Years later, the same principles that helped me produce shelves of pottery helped me produce a series of paintings.

It’s satisfying to complete a body of work, a series of paintings. It feels good to have paintings for galleries, shows, and sales. It also feels good to tell people what you are working on. Here are a few tips to help you if you want to tackle a series of paintings:

1. Determine the number, size and subject of a series. Set parameters about when you will finish (a painting a day, season, month). Pick a good number, then use social media, blog, etc. so others can follow your journey. Make it a realistic number. The summer I painted one a day was a huge commitment.
2. Source items if you’re doing still-lifes or take photo references combined with observational work. I keep a sketchbook and draw thumbnails for each image. I have bought a few rather bizarre things off eBay to paint, like an old metal ice-cube maker, pick-up stick game, even an old orange life preserver!
3. Have gumption and stay with the idea until it is complete even if you doubt your skills and subject. I use the word “GUMPTION” as my mantra and listen to the Hans Zimmer song Gumption from the movie The Holiday! It keeps me painting through anything. There were times when I thought, am I nuts painting Tang, cinnamon toast or Yodels? I may be nuts, but at least I’m being authentic.
4. Contact venues for showing your latest series. Tell people what you are painting.
5. Set up for success: order supplies to see it through, clean your studio before you start, plan times to paint, tell your family that you’ve decided to make the commitment. Take the series seriously.
6. Enjoy every second – painting is the good stuff!
7. And remember, if something is important to you, you will find a way. If not, you will find an excuse.

Happy Painting…and give Gumption a try!

As Memorial Day approaches, we wanted to take the time to honor all Veterans and celebrate the experience of art that has become a solace and rewarding experience to many Veterans today. Especially oil painting…

John Melillo, a disabled Vietnam Veteran is proud to have served his country. Today, John has joined OPA to share his passion and experience with oil painting.

In early 1970, John was drafted and found himself in Vietnam with the Army. He was stationed in Long Binh, the largest military installation in the country and was assigned to a Combat Military Police Unit where after a month became Patrol Supervisor. They were first call responders to any situation that would occur in a war zone from civil to combat involving 26,000 GIs and over 60,000 Vietnamese. He was front line commander of 26 MPs (12 on gates,12 on patrol, plus 2 dog units) working 12-hour shifts, 7 days a week, rotating 6 weeks days then 6 weeks nights with very few days off.)

John states, “Everyday was an eye opening Experience to say the least.

Today, I find a great deal of solace in painting some of the things I captured on film and making them a reality. It also gave me a great deal of accomplishment and reflection in the process.

These images reflect some of the history and point of view of the culture and life I witnessed in Vietnam.”

John was always interested in art but never had time to pursue it until his retirement in 2015.

He started auditing art classes (Suffolk Community College) and attended oil painting classes at the Southampton Cultural Center, Art League of L.I., SVA, The NY Academy of Art, Christies, Sotheby’s and frequent visits to various museums, art shows and galleries in NYC which all helped John find his style of interest.

 “Oil Painting is my passion. When painting I look to make it real by pushing back and bringing things forward that I want to emphasize. It gives a painting real life when done properly. It’s all about form and lights vs darks.”

“In the final analysis, I’ve learned you have to feel your passion and act boldly. Do not be afraid of failure because painting is a very humbling experience no matter who you are and what level you’re at.”  

Look! Everyone has their Vietnams- (I don’t care who you are). As a way of dealing with mine, I will continue through the programs available to me and of course, continue the very therapeutic process of creative art.” Says John.

Please stay tuned to see more on Instagram @artfeelingsjm for the “Life Goes On…” Vietnam Art Series by John of his original photos and experience.

Press Contact: Art Feelings
Beth Melillo
bethmproductions@gmail.com
917 414 7452
Instagram: @artfeelingsjm

CourtesyArt Credits – All Rights Reserved – JM @Artfeelingsjm