Commissions vs. Art You Love

[Serra]

I have been taking a lot of commissions lately, and I am just not a happy girl. It seems that all the things people ask me to do are not in my realm of what I enjoy doing, so the commissions usually end up being very frustrating. For example I almost exclusively draw women but am currently doing a commission of a buff dude with a sword.

I just want to do the kind of work I enjoy doing for people that will like it---how do I get customers to actually LOOK at my portfolio and judge whether or not I am the best artist for their project? I have been tight for cash so I haven't turned people down (which is maybe what I should be doing), but it seems like my customers aren't really paying attention to the kind of work or style I am capable of vs. what is totally absent from my portfolio. It seems like, if it's not in my portfolio, THAT'S what I'm asked to do.

Has anyone else had this problem? Am I just not finding the right customers? Should I be trying to find freelance work with magazines or companies that use the kind of art I do instead of doing work for Mr. Smith off the street? Or am I just being a diva artiste? (because if I am, I want to know so that I can try to stop being one!)

Thanks in advance for your input!
--Serra

[DavePalumbo]

Definitely if you're unhappy about your work, you need to target the clients who fit your interests.

Of course, finding something to love in an uninteresting project is part of the job, but the more work you do outside your interests, the further your portfolio will be from attracting your ideal clients.

[tensai]

Totally agree with Dave there.
You have to be flexible if you're gonna do freelance art.
It's not about the subject but about the life and beauty in it that you as an illustrator can convey. Be it people or still lifes or environments.

So I'd say be happy that you have the work and perhaps expand your interest, while also work on getting the work you want as well.

[Dusty]

I've never found commissions to be worth the time or effort for the price. It's usually some kid that wants his anime/comic/cartoon/movie/fan-made character that he'll use for an avatar or something and he'll spot ya 50 bucks and bitch the entire way about the price of it.

That's just MY experience, though...and if yours is similar, I would just say stop doing them now. As Dave said, it won't add to your portfolio if it's stuff you hate, so don't waste time with it.

You will benefit more in the long run from making a portfolio out of stuff you are passionate about than commissions for other people. I realize a lot of artists are convinced they "need" the money from the commissions to survive, but there is always other ways to balance life out.

In short: If you are unhappy, stop.

-D

[Elwell]

Should I be trying to find freelance work with magazines or companies that use the kind of art I do instead of doing work for Mr. Smith off the street?
Oh HELL yeah.
Not that it's easy, but actual, real illustration work is infinitely preferable to working with individuals. It's hard to do professional work when you're dealing with amateur clients.

[Serra]

Thank you all so much for your helpful input!!
I really appreciate you taking the time to reply to my question.

I'm just going to go for it, then, and submit to the places I think my art would fit best. I'm no worse off if they turn me down, so what's the harm in trying? I'm trying to balance things out so that I don't have to eat off the money I make with my art, which gives me a bit more freedom to try working with clients I want to work with, instead of taking everything that comes along.

I think I'm ready to try being a professional :)
Thank you again, so much, for all of the great input!

--Serra

[Brashen]

Some people would say be happy that you're doing what you love no matter what the subject matter is. But art has more emotions evolved in it than people give it credit. if you feel nothing towards what you're painting then it will look like crap compared to one where you truly are one with the painting and strokes just seem to come of their own accord from your hand.

But yet again diversifying and the ability to diversify in it's oneself is a great asset to have.Remember that the world does not revolve around you and your art.

[Qitsune]

On the other hand, while it would be very good for you to find real illustration jobs, I wouldn't entirely cut off private commissions right away. Maybe turn down the worse.
I find that I learn way more when I do art requested by other than when I do my own little stuff. Because it forces me to understand what the person wants and it pushes me out of my comfort zone. That's useful skills that will serve you when you get illo gigs.

[Ian Mack]

Consider this. You draw women exclusively. As per this commission you are being forced to practice drawing males. Could you not look at this as a learning experience?

Currently, my last three commissions have been two portraits of a dog, and a football player. The subject matter certainly didn't excite me but as a learning process in technique, they were valuable commissions!

The farthest I've gone to refuse money is to say no to a serving job. I want to make my money with art so I'll take whatever comes my way esp. since i'm trying to make enough money to go to Scotland next year through school. I don't necessarily want to paint pets but I will because I need to make alot of money.

That being said, are these portfolio pieces? No. They are asked of me by friends who don't know anyone else that can draw. So I'll do them but they won't make it into my portfolio because my portfolio is something I use to market myself and get the kind of work that I want. As Elwell said, professional clients are something else.

[Serra]

Consider this. You draw women exclusively. As per this commission you are being forced to practice drawing males. Could you not look at this as a learning experience?

That is very, very true. Thank you for pointing that out, because I actually hadn't even thought of it that way. I suppose the frustrating part for me is that I don't already know how to draw males so when I'm working on the commission I'm frustrated and upset so it's a bad experience---because I want it to look good, since someone's paying for it, but I'm learning at the same time.
Maybe it's time for me to practice that on my own so that if I get other male-centered commissions I will be ready and it will be a better experience.

That being said, are these portfolio pieces? No. They are asked of me by friends who don't know anyone else that can draw. So I'll do them but they won't make it into my portfolio because my portfolio is something I use to market myself and get the kind of work that I want. As Elwell said, professional clients are something else.

That is true, too. I have to remember that not everything HAS to go in my portfolio :)

Thanks!
--Serra