Monday, April 06, 2009

How much are you paying yourself?

WIP - The Kittie Sitter (or Uncle Cosmo does his share of childcare)
coloured pencils on Arches HP

copyright Katherine Tyrrell

This post is about how much you get from a sale after you've taken out the costs of creating the art and the costs of sale.

On Tuesday last week I posted the results of the March Making A Mark Opinion Poll Results of "How do you price your art?" together with a commentary. In it I promised that I'd explain how using the cost plus approach to pricing backwards can help you see what sort of net earnings you're actually getting for your art.

[UPDATE 2015: See also More about pricing art in Art Business Info for Artists - How to price your art  and Options for pricing art]

An overview


The basic approach takes the money you get for a sale and then
  • deducts all the materials and media used to create the art
  • deducts the cost of sales (commission etc)
  • deducts other overheads
  • adds back all allowed expenses/tax allowances
  • deducts tax and pension contributions
to arrive at a figure for earnings which equates to the sum earned from the sale which you can spend on stuff which isn't connected with making art. It's a proxy - but it's also an eye-opener!

If you divide it by the number of hours you took to create the work then you can arrive at a notion of what your hourly wage might be.

So - now we do it slowly and unpick pit by bit. I've split out all expenses incurred from all expenses allowed for tax purposes. This enables a review of what is/is not allowed as an allowable expense (or a tax allowance) in the current tax year.

How to work "cost plus" backwards

To do this do the following:
  • start with your set price (or price per square inch multiplied by your most frequent size of image sold)
  • deduct commission or sales fee at whatever percentage applies
  • deduct any specific cost of sales items which are unrelated to price or size (eg advertising; entry fees; cost of printing catalogues; transport/courier etc). You might want to share these across however many other artworks they cover - but be realistic about how many you actually expect to sell.
  • then deduct the cost of matting/framing
= income net of sales costs

Now you need to deduct the costs of making the artwork. Another way of looking at this is you are about to find out how much money should be deducted from the sale to replace the materials you've just used up.
  • deduct the notional cost of raw materials. This isn't an exact science - you are allowed to use approximations! ;)
= income net of variable costs
This is the sum available for your wages and payment of your fixed costs of making art (eg studio, insurance)
  • Identify your total fixed costs related to art (eg studio space and costs of equipment; professional insurance; professional fees)
  • Next step - divide your fixed costs by the number of works you sell each year and deduct the proportionate share
= gross income before tax and deductions and tax allowances

Remember that in cash terms this is what drives the cashflow until such time as you get the benefit of the expenses you can set off against tax. It's a useful place to start when you need to think about how much working capital/cash buffer you need to have to be a full-time artist.

Now add back all allowable expenses that you've incurred where
  • you kept the receipt and
  • which you are allowed to claim as a tax allowance or is allowed as an expense to reduce your tax bill.
This is where getting help with what's allowed and what's not allowed can be very helpful.

= gross income before tax and deductions

Dividing this figure by the number of hours generates your gross hourly wage for that artwork. This is the figure to use when comparing income to other occupations. See for example, this is website which purports to give an indication of the median hourly rate for a graphic artist/designer in the UK

Now we need to work out much net income you 'take home'
  • now work out how much you need to be contributing from each sale to your pension fund - because you are planning on having an old age when you just paint for pleasure!
  • then deduct tax at the variable percentage rate. (You may well have a tax allowance but let's assume for the purposes of this exercise that this basic sum is generated by other income which absorbs that allowance.)
= net income which you get to to spend!

Now divide that sum by the number of hours it took you to produce the painting - and you have your net hourly wage for that artwork.

Frightening isn't it? Try also reading The art income shock by Robert Genn.

Do remember to keep all you receipts and to claim all expenses allowed by your tax system. Remember that every country's tax system is unique and what applies in one place might not count in another.

Note on "The Kittie Sitter"
The work in progress at the top is another 'try-out' for the SOFA show later in the year. My scanner is cropping off the bottom and this is not the crop I'd use but it's good enough to show where this one is going.


[Apologies!!! I lost track of time and published just before rushing off to the doctors and missed out a vital step in the equation in the original published version. The post has now been revised to take this into account. You are allowed to claim for some of the expenses of making art against tax!!!]

Sunday, April 05, 2009

5th April 2009 - Who's made a mark this week?

Hot Spot - a finalist in Wildlife Artist of the Year 2009
8" x 20", coloured pencils on Arches HP
copyright Gayle Mason

It's always really nice to be able to feature the artwork of a friend. This week the feature image is by my CP buddy and friend Gayle Mason of Fur in the Paint and West Yorkshire. It's also a very special drawing as Gayle is one of three UKCPS members who have had their work accepted for the Wildlife Artist of the Year 2009 exhibition to be held at the Mall Galleries, London from 1st-6th June 2009.

The two other UKCPS members are Jonathan Newey and Margaret Edwards. You can read more about this in Three UKCPS members to exhibit in "Wildlife Artist of the Year 2009"
on the UKCPS News blog

You can see Gayle's devlopment of Hot Spot - which rejoiced for a while in the name "Steasle" while we voted on whether we thought it was Stoat or a Weasel - on her blog in these posts:
When I was watching the stoat on the Loch side running in and out of the huge boulders I couldn't help comparing its brief lifespan to the endless eons the rocks had been in existence. That was my concept behind the painting, a tiny bright spark in a large monochrome landscape.
Gayle says she got through an awful lot of French Grey coloured pencils while doing all those rocks! This drawing is a development of a particular style that Gayle has developed for some of her work. It involves the drawings being largely monochrome with a splash of colour. It's a style which has proved very successful in relation to her feline art and which can be seen in "Cats with a Splash". She even managed to sell one of new drawings in this style twice at the Society of Feline Artist's exhibition in 2007! The second purchaser got the same cat drawn again but with a different eye colour! Gayle has also exhibited her wildlife art with the National Exhibition of Wildlife Art in Cheshire and the Marwell International Wildlife Art Society at Marwell in Hampshire. You can see more of her wildlife art on her website.

Update on the awful computer problems!

Now - the rest of this post is going to be somewhat shorter than usual due to the dire problems I've had this week with my computers. Thanks to those who left kind comment and/or notes of sympathy.

On Monday I learned how to do a system restore - and resurrected my laptop from the dead! It took a little time - see Hello Computer! On Thursday it died again. I've now learned from the web that Sony Vaio owners have been experiencing the problem I'm having (refusal to boot when switched on) on a range of Vaio models since 2003 - check out thse two very long thread in Hardware Analysis - Sony Vaio laptop wont boot? (99 PAGES!!) and Sony VAIO Notebook won't start ... often. The solution for me has been to: take out the mains lead to run on battery and then to drain the battery. The computer then starts up saying it can't come out of hibernation mode but there are no files lost since it wasn't started in the first place. I've then done a system restore - and then everything works. Only takes however long it takes for the battery to drain while in hibernation. In the meantime, the big desktop has decided to only work for about an hour before a new registry corruption comes out to play - and it freezes solid.

Enough of boring computers!

Art Blogs

Drawing and Sketching

I adore Shirley's response to EDM Challenge #216: My Inner Critic on her blog Paper and Threads and her description and sketch of her right brain "bag lady"! Recommended reading!

Shirley's Inner Critic
Paper and Threads

Journal Blogs
Painting

Guerra Acrylics - paint chart
photo Caro R (Flickr)

I just ordered my first batch of paints from Guerra - I can't wait to try them out and I think they may work out cheaper as well. The hardest part was choosing from that vast palette of colours!
Printmaking
Art business and blogging
The Freelancers Union offers access to group health, dental, term life and disability insurance, and in the state of new York is acting as it’s own insurance provider.
Art Competitions
You can use any medium and paint any subject, as long as it's found in a national park. Paint America
Art Exhibitions
  • The Annual Exhibition of the Royal Institute of Painters in Watercolours opened at the Mall Galleries on Thursday and I was supposed to be seeing it yesterday - but the leg is still elevated with movement restricted! The Exhibition closes on Sunday 19th April. (I should do a drawing of what I look like sat at my desk/laptop with elevated leg - it's very funny! I might add one later..........).
    Brooklyn Museum: Art-Students and Copyists in the Louvre Gallery, Paris
American Art: Art-Students and Copyists in the Louvre Gallery, Paris
Winslow Homer, American, 1836-1910
9 3/16 x 13 7/8 in, wood engraving,

Brooklyn Museum
Art History
Art Videos
Making a Mark Polls - March and April
  • On Tuesday I posted the results of the March Making A Mark Opinion Poll Results of "How do you price your art?" together with a commentary
  • Then on Wednesday I introduced the MAM Poll April: What's your favourite subject matter? It's had a very high response in just a few days - 76 votes so far - so if you've not checked it out yet why not read the comments (very interesting!) and then vote! What's been very rewarding is seeing people get new insight into their own art just from having to think about what would their answer be and reading other people's comments.
Tips and techniques
Websites and Blogging
and finally.......

This week I've got a non-art one. The Guardian always has some stunning April 1st articles - one day somebody will produce a book about them. This one actually had me fooled for all of five seconds while I looked at the headline at the same time as my jaw gaped open! Smart marketing though - just imagine the hits their website got as a result - before you realise the real subtlety of the message!
Twitter switch for Guardian, after 188 years of ink

• Newspaper to be available only on messaging service
• Experts say any story can be told in 140 characters

Friday, April 03, 2009

Computer and out!!!

If this blog post appears then it means that my computer had died again!

Thursday, April 02, 2009

Sydney Parkinson and the Endeavour botanical illustrations

I didn't hear about Sydney Parkinson for a long time. Which is really amazing considering that he is one of the most important botanical and natural history artists who ever lived. His claim to artistic fame is that he sailed as the artist on Captain Cook's first journey around the world on the HMS Endeavour (1768-1771) - a voyage of historical significance and scientific discovery.

Sydney Parkinson was born in Edinburgh and became very proficient at drawing plants and flowers. He then travelled to London to develop his career as a botanical artist and was discovered by Joseph Banks who was the great sponsor and developer of gardens (eg the Royal Botanic Gardens at Kew) and botanical illustration in general.

Parkinson started the voyage on the Endeavour as one of two botanical artists taken by Captain Cook to draw and paint plants collected on exploratory voyages. However the other artist Alexander Buchan died of epilepsy in Tahiti. This meant that Parkinson became
  • the first European artist to set foot on Australian soil,
  • the first artist to draw an authentic Australian landscape, and
  • the first non-indigenous artist to portray the Aboriginal people of New Zealand and Australia from direct observation.
The Endeavour Botanical Illustrations

The Natural History Museum has an absolutely wonderful microsite, on its website, which provides an online exhibition about the Voyage of the Endeavour and the botanical illustrations which resulted. On it you can find the botanical illustrations relating to the different countries visited on the voyage:
The sad thing about the botanical illustrations is that they lay in archives for years as nobody could afford to produce them as a proper volume recording the voyage. However the good news is that this finally happened more than three hundred years after the voyage was completed.

The way the botanical illustrations were produced worked is as follows - based on the records from the Natural History Museum:
  • In 1773, Banks employed five watercolourists to complete 595 new artworks based on Parkinson's unfinished work.
  • 18 engravers were then employed to cut life size versions (based on 743 artworks) as botanical engravings on copper printing plates - which took until 1784. The 738 engravings they produced enabled scientific publication in colour.
  • Various reasons meant that nothing more than proof prints were taken from the engravings while Banks was still alive - and there was no publication.
  • Subsequently the engraved copper plates were stored in the British Museum.
  • The British Museum (Natural History) - which is the former name of the Natural History Museum - produced lithographic prints of 315 of the Australian plant engravings between 1900-1905.
  • In 1973 a further set were published in a bound volume entitled Captain Cook's Florilegium
  • In the 1980s the Natural History and the publisher Editions Alecto renovated the copper printing plates and printed the very first complete set of images in colour.
  • This project aimed to achieve a limited edition of 100 sets, under the title of Banks' Florilegium. T, would be produced - and took ten years to complete - some 300+ years after the voyage took place
You can find these links and others relating to Sydney Parkinson on my new information site Sydney Parkinson - Resources for Botanical Art Lovers in the series about botanical artists.

The really sad thing about Sydney Parkinson is that he died - aged just 26 - of fever on the voyage home shortly after they ship left Java. The failure to publish in the eighteenth century meant that his name is not well known.

Just think what he might have produced had he lived! To my mind it is only fit and proper that there is now an increasing level of awareness of what he accomplished on the voyage. I hope with this post and my new information new site that I can help contribute to people knowing more about Sydney Parkinson and what he achieved with his work.

Explorers versus gardeners

As I've been developing my information sites about botanical artists, I've been noticing that they seem to fall into two groups - which I've identified at the beginning of A Compendium of Botanical Art.

There are
Tomorrow I continue with a post about Margaret Mee - an artist who generates not infrequent requests in various quarters for more information.

Wednesday, April 01, 2009

MAM Poll April: What's your favourite subject matter?

What's your favourite subject matter?
What do you like to draw or paint the most?

The Making A Mark Opinion Poll for April seeks to identify what is the nature of your favourite subject matter for creating art.

Pigeonnier, Najac (1994)
pen and sepia ink, 16" x 11" in sketchbook
copyright Katherine Tyrrell

On my quest for learning more about the history of art I've become really intrigued with how the subject matter of art has changed over the centuries and the reasons for that.

I'm now fascinated to know the reasons why people focus on particular subject matter and what the various influences are - in terms of art education, personal taste, "gut feel" about what you're drawn to et al.

Your options are:
  • anything and everything
  • scenes - landscape / urban / interiors
  • still life
  • botanical / floral
  • animals and wildlife
  • portraits and figures
  • narrative (the story is the main focus)
  • conceptual / symbolic
You'll find the poll in the normal place in the right hand column - just below the module about Blogger Followers. Two important caveats
  • this poll is NOT looking at HOW you choose to work. So which media you choose to use, what style you use and which format you like the best are completely immaterial as the poll purely focuses on subject matter
  • the poll is also NOT concerned with the subjects you choose to paint to earn your income. It's purely about the subjects you most like to paint - for your own enjoyment. Hopefully they might be the same!
Do please comment on your motivations to draw, paint or sculpt whatever is your favourite subject matter.

I'm also be very interested to hear your views about why subject matter has changed over the years and what some of the reasons for this might be.

The poll finishes on 30th April (in the early hours) and an analysis of and commentary on the results will be posted later in the day.

I was stuck for an image for this post and then thought that, naturally enough, it ought to be a favourite subject. So, the drawing at the top - although a sketch - is one of my all-time favoruite drawings (although I ought to try and get a better image of it!). So much so that ten years later I took a biggish detour while driving through France to visit the same place - Najac in the Aveyron region - and draw it all over again.

The menu Carte Gourmande in the restaurant at L'Oustal del Barry might have also influenced the decision to make another visit. Which reminds me that another one my other favourite subjects is drawing people in restaurants. Then there's views and vistas and............

Pigeonnier, Najac (2004) from my dining table
11" x 16", coloured pencils in sketchbook

copyright Katherine Tyrrell