This article is reprinted by permission from NextAvenue.org.
Transitioning from someone who creates art to someone who sells his or her art for profit can be difficult. As David Deeds, Schulze Professor of Entrepreneurship at University of St. Thomas, wrote in “To Turn Your Art Into a Business, Learn to Manage Your Time,” you may want to find a partner to help run the business. But in his new book, “The Paid Artist: How to Make Your Art Into a Business,” artist and self-proclaimed business geek John Endris offers five steps to get started on your own. Here is an excerpt from the book about them.
It may be painful to reflect on the financial aspects of your undefinable contribution, but by doing so you will take the guesswork out of your livelihood. This way, you can determine how much you need to earn or save to cover your expenses and create your goals and milestones around.
A few questions you’ll want to answer to help you begin making your art into a business: What do comparable artists charge? What is the minimum you can pay yourself? What have you sold your art for in the past? How much does it cost to produce one piece of art?
Five steps to launching your art business
Now, here are five steps to really begin your process of launching your art business:
Step 1: Profit and Loss (or P&<). This sounds difficult but is quite rudimentary. First, list out all of the art you have sold. Then total it and label it “total revenue.” Next, list all of your expenses to create it. (Fixed Costs are expenses that must be paid no matter what and do not fluctuate with demand. Variable Costs increase or decrease with demand.) Then total that and label it “total expense.” Next, deduct the total expenses from the total revenue. This is called your Net Income/Profit.
If you have more expenses than income (negative Net Income), you are a normal artist. Becoming established is challenging and requires intrinsic fortitude and motivation that impatient businesspeople do not have and can’t buy. Seeing the loss makes it real, which is good.
Pretending to be successful when you have massive losses will never help you turn things around. If you intend on doing projections or a budget, add a contingency for wasted materials and mistakes.
Step 2: Funding. You could list all the things you need, and then determine how you will pay for those things. You may not need to fund your business and be totally fine with everything you have got so far.
If not, this section can still help you explore your goals.
Getting a loan will be a challenge because you will be soliciting funding on speculative earnings. Will you use your savings? Or a grant? Are you seeking a grant or do you want to find one? How much do you need? Where will you get that funding from?
Here are some popular sites for artist grants:
Step 3: Profit Projections. This is an explorative puzzle to determine how many units you must sell at what price. The word break-even is scary, so use the word scoping instead.
By doing the competitive research, you will know the pricing for each type of business model and be able to guess at a potential income stream. You can also see what offering makes the most sense to spend your time on.
Hypothetical Art Sale Per Piece: $1,000
Desired Profit: $80,000
How do you make $80,000 in profit from a $1,000 piece of art?
Just like the Sales and Expenses Exercise from the P&<:
- Sales: $100,000 (you tracked and totaled all of your sales)
- Expenses: $20,000 (you tracked and totaled all of your expenses — $10,000 for studio rent/fixed costs and $10,000 for art supplies/variable costs)
- Net Income: $80,000 ($100,000 – $20,000)
- $80,000/$100,000 = 80% Margin
- Margin = 80%
- Amount you want to make divided by your margin (80%).
- $80,000/0.80 = $100,000 in Revenue is needed to make $80,000
- Divide $100,000 by $1,000 = 100 art pieces sold (100/12 = 8 or 9 a month)
You maintained an 80% margin and sold 100 pieces at $1,000 to make $80,000
Step 4: Break Even. How many pieces of art do you need to break even? This is by far one of the most important aspects that nearly every artist leaves up to someone else to determine for them but shouldn’t. Doing this helps an artist understand what they need to charge for their work. It is also how you get paid to do what you love the most.
- Expenses: $20,000 (assuming the expenses are the same $10,000 for studio rent and the amount of supplies stays the same at $10,000)
- Hypothetical Art Sale Per Piece: $1,000
- $20,000/1,000 = Sell 20 Pieces (your art paid for itself)
Break Even and Paying Yourself
- Expenses: $20,000
- Your Salary: $20,000
- Hypothetical Art Sale Per Piece: $1,000
- $40,000/1,000 = Sell 40 Pieces (Your art paid for itself, and you to do it)
- If you can sell 40 pieces, you can cover all of your expenses and pay yourself a salary of $20,000 if you sell each piece for $1,000 ($40,000/40). Sometimes, making more art will cost more (variable expenses). What if supplies cost more for more pieces? ($60,000/40) Then, you would charge $1,500 per piece.
Step 5: Tracking Your Income and Expenses. An accounting software called Wave is free, easy to use and has a simple user interface. It lets you enter your income and expenses for each business transaction you make. It is easy to use, and helpful for tracking expenses.
Once your transactions are there, you can make a P&< statement with a few clicks. You can also use Wave to create professional looking invoices.
If you only have enough interest to just track your income and expenses, you can hire someone to ensure it balances.
Obviously, you cannot do everything yourself, and probably shouldn’t. Learning how to do taxes and financial analysis is not the best use of your time, and will take time from your art. As a businessperson, there is no shame in building a team around you.
Artists are usually too afraid to ask for help because they have probably gotten ripped off before.
John Endris is author of “The Paid Artist: How to Make Your Art Into a Business,” an artist and a business geek. He is a business strategy adviser, a serial entrepreneur, an active investor and has an extensive background in the financial services industry.
This article is reprinted by permission from NextAvenue.org, © 2020 Twin Cities Public Television, Inc. All rights reserved.
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Filipina front-line workers are turning their pandemic struggles into art – CTV News
Throughout her career, registered psychotherapist Elda Almario has spent a great deal putting the mental health of children she works with ahead of her own. But during the pandemic, she says, it’s become even less likely for her to “take a break and reflect.”
Over the past few months, Filipina front-line workers like Almario have found an outlet to relieve bottled-up anxiety, loneliness and fear: Writing their stories down and sharing them.
“Allowing space for my experience to come to the surface became a form of self-care for me,” Almario told CTVNews.ca in an email. “It was great to have a voice and be heard especially during a time when I have been so focused on my work due to increased demands and complex needs.”
The “Stories of Care” writing initiative, run through North York Community House in Toronto, virtually brings together front-line workers such as nurses, retail workers, at-home caretakers, dental hygienists, and cleaners, to share burdens they’ve mostly carried alone.
“It gives me strength, I feel encouraged because I know that no matter what we are facing, we face it with courage, resilience, and positivity and we continue to love what we do,” Olivia Dela Cruz, a paid caretaker of a household of six children, told CTVNews.ca in an email. “My respect [is for] all frontline workers because they all put others before themselves.”
Jennifer Chan, the lead organizer of the initiative, told CTVNews.ca in a video interview that the writers “feel seen and heard in a completely different way.” She said one participant told her, “it was so meaningful to get to write my story and just spend time thinking about me.”
Filipinx people play a crucial role on Canada’s front lines, making up one in 20 health-care workers, according to one study. A third of internationally trained nurses in the country are from the Philippines, according to the Canadian Institute for Health Information; with Filipinos making up 90 per cent of migrant caregivers providing in-home care under Canada’s Caregiver Program.
EXPERIENCES CAPTURED IN ART
Chan was inspired to start the program through her work with North York Community House, where she regularly consults with caregivers from the Philippines, who need help filling out government documents.
She and her colleagues were noticing “a lot of stuff coming to the surface” and they wanted to give them an outlet.
“Stories of Care” began last summer as a six-week writing course for a few Filipina front-line workers, and has since grown in attendance and centred on less-time-intensive sessions.
As of last Friday, some of the stories are now featured in a digital exhibition in the DesignTO Festival, based on three Filipinx artists who “read the stories [and] took inspiration from them,” Chan said.
One video called “Balikbayan” – a term for Filipinx people living outside of the Philippines — shows a fruit falling to the ground, turning into a box, crossing the sea, hitting the shore and growing into a tree. This signifies people starting a new life in Canada. The title also refers to the care packages or “Balikbayan boxes” that are sent back to the Philippines.
Another video features an animated circle of faces encircling alternating excerpts about workers’ fears, including getting COVID-19 on the job.
Another piece features a silhouette of a person holding a sign reading, “we love to deliver,” contrasted with alternating English and Tagalog phrases such as: “I need to sacrifice my comfort for my family,” “I didn’t want to move to Canada” and “Migration is no guarantee for a better future.”
“Having artists make renditions of our stories gives us the validation that our stories are valuable,” Gretchen Mangahas, a communications specialist and newcomer to Canada, told CTVNews.ca in an email.
“I felt the power of stories in the shared lived experiences of my Filipina sisters,” she said. “I knew that I was not alone, and that the connection opens opportunities to learn how to navigate in a new country I would call home. It has also created friendships and new avenues for sharing with others.”
FILIPINX FRONT-LINE WORKERS FEEL ‘OVERSIZED TOLL’
Last fall, the Migrant Workers Alliance For Change released a damning report alleging that throughout the pandemic, migrant care workers were subjected to entrapment, long hours, and thousands of dollars in stolen wages by exploitative employers.
Chan said some writers “were feeling stuck in their employer situation” and thought about quitting, but knew it would mean they couldn’t provide for family back home and might potentially lose permanent residency status.
Medical news publication Stat News also reported that COVID-19 has taken an “outsized toll” on mental and physical well-being for Filipino front-line workers in the U.S. Chan said the same could be seen in Canada.
“They need an outlet to reflect through their own stories… we’re not hearing enough from them,” she said. Chan said attendees had a lot of cultural habits to overcome initially, including so-called “toxic positivity” and the “ongoing feeling that these women feel that they have to feel grateful to be here.”
Many worried about their families back home in the Philippines, which was hit by multiple typhoons last year. Chan said others wrote about the strict lockdown measures in the country and about “not being able to go home. Not feeling safe here or there.”
Although most people today are only being able to connect with family over video or the phone, that’s what immigrants have done for decades, said magazine editor Justine Abigail Yu, who facilitates the writing workshop in both English and Tagalog.
“Loving from afar” was a big theme in their writing, she told CTVNews.ca in a phone interview. “Obviously the conditions are quite different on an extreme level, but we’ve always had to show our family who are living in entirely different countries how we care for them and how we love them.”
The organizers said front-line workers’ feelings of isolation and homesickness while living in Canada have only been amplified by the pandemic.
Yu, the founder of magazine Living Hyphen, created an environment where Filipina workers could open up to themselves and to others.
“So many of these caregivers and our immigrant families, we just want to survive. We move to Canada, work our asses off to get by and to make sure that we’re providing for our children and there’s no room to tell stories,” she said. Yu’s role involved “breaking down that barrier first and foremost.”
And the investment appears to have paid off.
“In more ways than one, we deeply resonated with each other’s experience,” Almario said. “I gained a sense of belongingness and community, the feeling of not being alone.”
Caregiver and single mother Dela Cruz agreed, saying being a part of this project “brings back so many memories that I thought completely forgotten. Stories about me that I never thought I will have the courage to share.”
‘Glorified littering’: Junk street art installations popping up around Montreal – Global News
From the Van Horne skate park in the Mile End to NDG’s Saint-Jacques Escarpment, bizarre art installations are popping up around the city.
Prowling panthers, massive abstract beasts — it’s all put together from the imagination of the artist under the pseudonym Junko.
It’s a fitting name, for all the art he creates is entirely made from miscellaneous “trash” that he finds on the street.
“Basically, they’re carefully arranged piles of garbage,” Junko said. “You can call it glorified littering.”
Using things found on the street like car tires, bike frames, even shoes, everything is a workable piece in Junko’s creations.
Car bumpers are a common staple in his creatures.
“They’re definitely a popular item for me,” he said with a laugh.
Over the past few months, he has put together some six different statues around the city and abroad, all varying in size from small to towering.
A timber frame made from recycled wood holds the installations together.
“I’ve been making art my whole life,” Junko said. “My art has always been around creating creatures and characters. This is a new chapter in that.”
He says finding the junk isn’t that hard in the city but finding the right piece can be.
“Sometimes it’s extremely easy. I’ll be walking and find something and carry it home,” he said.
While shying away from the spotlight, Junko says he isn’t trying to make a point with his art, which he says speaks for itself.
“There no deep hidden meaning, it’s just a way to expressing myself,” Junko said.
That so-called trash is getting a lot of likes and recognition on social media and on the street.
“There is a lot of art in the neighbourhood, so it’s good, I’m not against it,” resident Nick Barry-Shaw said.
Juno sees his form of expression as a legal grey zone.
“The people are into it but I’m not sure about the city, though,” Junko laughed.
He said that unlike graffiti, his street art is not vandalism but simply “an organized pile of trash.”
So far, all four art installations in the city have not been taken down, according to Junko.
The young artist says there is a lot more art to come and people should keep their eyes peeled.
“I’m just getting started so, yeah, you can expect more work,” he said.
© 2021 Global News, a division of Corus Entertainment Inc.
Fine art in your mailbox: local artist creates unique postcards – TheRecord.com
WATERLOO — A new postcard art project will use snail mail to rekindle memories of travel while sharing evocative original artwork.
Art galleries are closed due to the pandemic, and opportunities for local artists like Paul Roorda to display and sell their artwork are sparse.
“I just wanted to find a way to get my art out there so people can see it,” Roorda said.
His project “Somewhere Anywhere Postcards” is a series of hand-printed postcards that feature abstract landscapes, vintage stamps and messages of hope.
Roorda photographed different parts of an old, weathered wall. The lines and markings reminded him of beautiful landscapes, the ones you typically see on postcards from tourist destinations.
The postcards are small works of fine art, Roorda said, from the imagined landscape of the weathered wall he photographed, down to the vintage stamps he found and attached to each individual postcard.
The photographs were processed using an age-old technique known as cyanotype. Roorda mixes chemicals and brushes them onto paper. He then exposes the photographs in the sun and develops each photograph in water. The result of this process creates cyan-blue prints.
“I wanted to stay true to the vintage nature of the art,” Roorda said.
He has also written hopeful messages on the back of each postcard to uplift people during the pandemic as it keeps everyone indoors this winter.
“Right now with COVID we are surrounded by our walls, and we can see walls around us as barriers. I wanted to write something about seeing past those barriers at a time when people are feeling discouraged.”
Roorda is fascinated with vintage and antique items as well as found objects. Three years ago he created mini art galleries out of metal cash boxes and attached them to utility poles throughout Waterloo.
Roorda was ordered to remove them by bylaw officers, but was later granted permission by the city to temporarily display his art. The project was called “Time Stops” and each piece featured a musical element, found objects and messages.
Roorda’s postcard project is supported by a grant from the Region of Waterloo Arts Fund. He launched “Somewhere Anywhere Postcards” last week and has already mailed postcards to addresses across Ontario and to Europe.
Roorda’s postcards can be found in his online shop at www.paulroorda.com.
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