The meeting opened with Emily Hawes, the PWAS Program Manager (on the left), introducing Elena Jochum (below).
The PWAS members asked Elena many questions and enjoyed this very interesting and a must-have topic for artists wanting to grow their art business through commissions.
Elena Jochum sent me the below outline with Q&A for anyone that missed the meeting in this all important art topic.
Commissioning Art
Ways to solicit commissions:
1. You are always promoting! Any social media post whether it’s on Instagram, Facebook, Tiktok, email blasts etc. It is important to have consistency with posting on social media.
2. Events are great. Make sure to have a business card with your information. A QR code to a Linktree is a great idea.
3. When speaking to someone face to face, definitely mention that you offer commissions. List what you specialize in.
4. Word of mouth travels FAR.
5. Refer fellow artists if you don’t specialize in what they’re looking for! They WILL return the favor.
6. I like to post on local Facebook groups on days you’re allowed.
7. Email blasts through your website. If you don’t have a website, then just writing an email to all your business contacts once every couple of months with updates and reminder that you’re offering commissions.
One of our local artists once said that only very rarely does a commission inquiry eventually result in a commission. Do you think commission customers are different and if so, is it in some way that might guide the artist's choices?
It depends. I don’t count any interaction in person or online as a definitive, unless there’s a signed agreement. A lot of people are being nice when they say things like “I’d love to commission you for something”, but never do. I think following up once with a question about more information and an explanation of your services is sufficient.
How much should one show their prior commissions or is it better to refer clients to your non-commissioned work?
Having all works in one place is a good idea. I just have all my work up on my website. I refer people who are interested directly to it. They can see my entire portfolio of commissioned and non-commissioned fine art.
Are there privacy issues with showing prior commissions, or do you avoid that? Is there an option in the agreement to request permission to show it, or is it "your work is your work" even if the faces are private individuals' (in the case of portraits)? What about minors?
Most of my commissioned works are on my page. I do ask clients if they’re ok with that, and 99% are. I think this I a case by case basis. I would just have a straight line of communication with the customer in writing.
What are the differences in soliciting for commissions of portraiture and pet portraiture and landscapes or architectural (EG homes) depictions?
I personally promote clusters of images together: home, pet, family, landscape. Let the client decide what they wish to invest in and make part of their legacy.
What is a turn off, and are there things you've been told that prospective customers might consider red flags?
Lack of communication is #1.
Customers: Are there red flags on who is going to be troublesome, and how do you deal with those? Do you ever turn down customers, and how do you do it so you don’t create hard feelings or bad reviews?
Referring clients to another artist is the absolute best wait to avoid issues. You’re still giving them what they want – a product. Just with someone more suitable than you. Being an artist is being part of a very unique community, and it’s important to work together. Getting fine art on the radar in general – will create more sales! There’s a great soda machine experiment to represent this marketing strategy.
What precautions do you need to take before entering an agreement, and do you have sample commission agreements, or pointers for agreements? Are special requests such as colors or pose or mood or "props" best included in a written agreement?
1. Request a 50% nonrefundable deposit and 50% when finished.
2. Have a written commission agreement you and the client sign.
3. My only issue comes up when a customer wants changes with the work as it’s already in progress. That happened maybe twice in the past 2 years. I tell clients in advance – if they want any changes to the photo, it’s an additional $55 fee per change. Sometimes, if it’s a very small change, I give them a discount and do it for free. It’s a win win, because they just saved $55.
Do you recommend accepting a "turn down" when a customer does not wish to accept a finished work and should there be a clause releasing the work for other sale even if it's a personal subject (even if this has never happened to you, interacting with customers has likely given you insights into how it would play out and what are good parameters)? A non-refundable down payment to cover materials and a minimum or time, or a full payment either way or a full refund?
1. 50% nonrefundable deposit is a must.
2. Maybe see what could be done to the painting more to their liking. Depends on what the issue is. If it’s funds, then I suggest a monthly payment option.
3. You created the commission; I see zero issues selling if customer doesn’t want to pay.
4. It does get a little legal-y. Having contact information for a good attorney is not a bad idea in general, so you could ask them these questions.
Scams as opposed to just difficult customers, and what do you watch out for?
If they don’t want to sign the commission agreement – then 99% chance, it’s a scam.
How often and at what point in the process of a work do you check in with the customer? Does it vary, and how much reworking are you willing to do, is there a cut off point at which you feel the relationship is not working or no longer going to be financially acceptable? Is there a way to figure this objectively by usual time on a commission and price, or is it entirely subjective as in some commissions are emotionally more rewarding (and possibly artistically challenging) for the artist?
1. I check in every time I make noticeable progress. Clients love to watch the process.
2. Zero reworking unless they pay me. That also varies on your style of work etc. I specialize in realistic watercolor portraiture. With nature scenes it might be different.
3. Just being up front with the client is important. If you let them know at the beginning that you will rework something, but for a fee. Then there should be no surprises. This type of transparency weeds out any unwanted customers from the beginning! Don’t be afraid to set your rules. This is YOUR business and your art!
Other: Framing? Delivery? Insurance? One avoids paying gallery commissions – how does that interact with direct commission prices? Pure profit or not?
1. Framing is always included with mine. Standard mat board and frame. If they want custom, I either will do it at cost – if more than $750, or send them to Hobby Lobby.
2. Delivery is an additional $60 flat fee for 11”x17”. That includes bubble wrap, protective plastic wrap, box etc.
3. Insurance, sometimes. If going overseas, I will add up to $1000.
4. Definitely not pure profit. I see it as excellent service. Not fun. But excellent. I go above and beyond for my clients.
Is there anything else most people don't realize about offering and providing commissioned work? This could be anything from a hard lesson to surprising emotional or challenge and skill rewards.
Commissions are different for everyone, everywhere. My art was very popular on Okinawa. Only to come to NOVA on my high horse with people not being able to afford anything. I only recently was able to book a small commission with someone in Virginia this month. There are very few and far in between. I still don’t fully understand why there’s such a huge difference. One thing I learned is that it will take time. Post every day, every week. Consistency is key. Maybe if people are seeing more input from other local artists on the pages I use, they will be more used to the idea of investing in fine art. Just think about how often you see photographers promoting their businesses. And even going back to the soda vending machine example. You place two soda vending machines next to each other, one Coke and one Pepsi. They’re direct competitors. But the consumer will be way more likely to buy a soda from one or the other, than not at all.
Elena also showed us her template for an Art Commission Agreement Form for others to create their own, so check that out at
We certainly enjoyed Elena's program and thank her profusely for covering this topic!
