The following article was written by Debra Keirce, a regular contributing author to The BoldBrush Letter.
With the new year approaching, life seems to always come to a crescendo. I’d like to share a methodical approach I use. The project management triangle (Cost, Time, Quality) is a tried-and-true framework for balancing competing priorities and making strategic decisions—especially in a field like art where each of these factors plays a significant role in your work and business. The idea is that if you optimize one side of the triangle, you should realize that you will be making sacrifices in the other two sides. For example, you can’t have the lowest cost product, without sacrificing quality and/or time.
COST
Think about both the price you charge your collectors AND your cost of doing business. What are you willing to do to lower your expenses, even if it means you spend more time and it lowers your quality a bit?
Experimenting with Lower-Cost Artworks
Offering specials, or works at various price points can be a great way to appeal to a broader market. In addition to sketches, demos or smaller pieces, don't forget about prints or other ways to offer affordable alternatives. These works can serve as "entry-level" pieces for collectors who might not yet be ready to invest in your larger, more expensive works. If it fits your business model, I’ve used drop ship places like Vista Print to print cards, ornaments, journals and other stocking stuffers or swag bag items with my art on them in the past.
Studio Efficiency
This is a great time to review your own studio habits that may be costing you money. I recently gave about half of my over-used still life objects to a charity, freeing up space for more materials purchased during Black Friday sales.
Bulk Supplies
Buying things like frames or shipping boxes in bulk during sales is a great way to save costs long-term. Just ensure you're accounting for storage space.
Free Shipping
This is something to consider, especially as costs are rising and buyers are more sensitive to shipping expenses. If you choose to offer free shipping, be sure to incorporate this into your pricing strategy.
Packaging & Shipping
Streamlining your packaging process and finding the most cost-effective shipping solutions (without sacrificing the safety of your work) can result in savings. I have not tried them, but there are services out there like Pirate Ship, ShipInsure and Stamps.com that you might want to check out. If you buy sheets of heavyweight cardboard and score it with a box cutter, you can make your own boxes at a fraction of the price you would pay for them.
TIME
There’s a delicate balance between getting all of your creations made, sold and shipped quickly, and still maintaining a high level of quality and a low cost. How do you value your time? There could be things you are doing that others could do quicker, and at a lower cost than you pay yourself.
Prioritize & Plan
Focus on what’s most important: commissions first, then deadlines for shows and exhibitions. Time blocking can help keep things organized. Designate specific days for creative time and others for admin tasks, communication, or even personal time.
Delegate When Possible
If there’s a task that isn’t directly tied to the creative process, such as administrative work, social media updates, or even framing, consider outsourcing or hiring temporary help. Even a few hours of extra time can make a huge difference when things get hectic.
Efficient Communication
Make communication more streamlined. Try keeping emails and social media updates short and to the point, focusing on key calls to action like availability, pricing, or sales. Quick, concise responses can be appreciated by customers who are busy too! Using email templates for common responses (like inquiries about prices, availability, or commissions) can also save a lot of time.
Process Efficiency
Here’s a thought experiment. What is the longest step in your art making process? Is now a good time to brainstorm ways to shorten it?
QUALITY
This one is always tricky, isn’t it? You’re balancing how much effort you’re putting into a piece versus what will wow your collectors versus what you can actually deliver. Almost everything you do to improve the quality of your art is going to cost you more time and more money.
Quality of Materials
It’s all about meeting your audience’s expectations. Are you meeting them? I always arrive at the end of the year soul searching, realizing I have a surplus of expensive frames, new varnishes I will never use, rare paints and costly, internationally sourced brushes that my collectors could really care less about. I want to provide archival, durable, award winning artwork. It’s always a good thing to review what I am doing that does not support this.
Does Less Time Spent Mean Lower Quality?
Offering less polished works like alla prima or plein air drawings or single pass studies at a lower price point can be of value. This is where the time-quality trade-off really comes into play. While these works take less time to create, their perceived value can still be high depending on the context and presentation.
Having said that, I feel like I am only a short time away from not offering these anymore. I’ve reached a point where I want to focus on creating only award winners. Still, it’s worth a thought.
Crafting the Narrative
People often buy art because they fall in love with the story behind it. Consider including a short narrative about your process or the inspiration behind each piece. Even the music you listened to while creating or the brushes and paint tubes / clay and molds you sourced and used up can be a story —especially for commissions. It’s a nice touch that can elevate the experience of the artwork and add to its value.
Quality Variance
Different buyers value different aspects of quality. Some may place higher importance on the materials used, others on the artistic skill, while others might value the story behind the work. As an artist, it’s important to adapt the quality of your output to meet the expectations of each specific audience segment. Can you think of other quality aspects to consider for next year?
Live Demonstrations
Offering live demonstrations can appeal to collectors who are interested in the process as much as the finished product. Streaming a live painting session or hosting an online art demonstration can be an engaging way to reach more people during a busy time. It can also increase your perceived value with your audience.
ADDITIONAL TIPS
Streamline Your Online Presence
If you're working on multiple platforms (website, social media, newsletter, etc.), consolidate and make sure everything is up-to-date. Ensure your online store is easy to navigate and that all information is clear.
Be Kind
This sounds obvious, but remember to say please and thank you. Any interactions you have - assume you are working with stressed out people. Make those experiences as convenient and pleasant as possible.
Self-Care & Setting Boundaries
Finally, as you’re juggling the many demands of the season, don't forget about yourself. Art is a deeply personal process, and burnout can damage both your creativity and productivity. Schedule moments to step away from work, whether it’s a short break, a walk, or time spent with family and friends.
By viewing the close of your fiscal year through the lens of the project management triangle, you’re setting yourself up to make the most of this busy time. You are maintaining a healthy balance between the creative and business sides of being an artist. The key is finding harmony between time, cost, and quality, so you can continue to produce work you’re proud of while managing the business side of things efficiently.
Debra Keirce
www.DebKArt.com
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Thank you, Debra--very useful post. At nearly 80, and with more than a quarter century behind me as a professional artist, I am re-evaluating the triad you mention of Cost, Time & Quality. There are aspects of my former art career that are no longer in the picture: for example, I no longer teach: I have eliminated all juried plein air competitions that involve travel across the country; I have raised my prices to make what I create more cost effective without any significant impact on sales; I have for the last 10 years concentrated on smaller works that are easier for me to manage with the energy and time I have available and which are attractive to my gallery and home studio audiences; I purchase (when on sale) only one type of frame, which is now my "signature" frame; I no longer take commissions as those proved not to be time-cost effective for me; and this year I made a decision to eliminate any future off-site shows to which I am invited as featured artist because of the difficulty in transporting, hanging, and returning artwork back to my home studio gallery, which will remain the basis of my ongoing display and the cornerstone of my twice a year sales. I continue to enjoy the management my own financial and business side of art, but am happy to find and pay for assistance (not always easy to find) in many of the the other aspects, especially technical.
Thank so much Debra. This was SO timely. I really appreciate all the thoughts and suggestions. It's always tricky to reassess what one does and the costs of time, materials, emotions and energy, yet it is important to do. I think we care and overthink way too much. Our students, collectors, fans, etc....I don't think care half as much as we do. They just want us to be happy, but the angst we go through....Oy Vey!!! As long as we are giving it our best and doing it with love and care, well, what more can we really do? Your thoughts on efficiency in our studio, in my opinion, help keep our anxiety down so we can create and be creative without the visual and emotional chaos. Thank you.....