Painting Pet Portraits on Commission
Painting Portraits of Pets – is it Lucrative for the Artist
Nov 7, 2009
Painting full-time remains a far-off dream for most artists. By necessity, the balance is generally weighted towards food, shelter and warmth rather than the development of artistic expression. Dutch artist Patti Vaz Dias, has found that painting pets and other animals is a compromise that allows her to make a regular contribution to the family income while at the same time pursuing her passion for art.
Patti Vaz Dias - Animal Lover, Equestrian, Pet Portraitist in Oils
An animal lover and accomplished equestrian Patti practices her art from her home in Belgium. Initially concentrating on pen-and-ink fantasty and sci-fi art, her venture into pet portraits grew from an exhibition she held in a friend’s private gallery several years ago. Viewers liked the framed pen and ink drawings of Patti’s own dogs so much that she received several follow up enquiries. She soon found herself with enough commissioned work to take up most of her painting time.
Patti’s academic background and training includes attending a School of Graphics in Amsterdam and participating in several graphic design and printing courses. She has always loved to draw and finds particular fulfilment in the execution of fine detail. Patti now uses oils for most of her work.
The animals Patti is most requested to paint are dogs and horses, with koi also being a popular choice. Patti says people mostly want their pets painted because:
- they love their pets so much and want to demonstrate this in a tangible way
- they are particularly proud of their pets; exhibiting them at shows and competitions and having them painted enhances both pet and owner’s status.
Negotiating a Contract for Pet Portraits is Important for the Working Artist
One of the aspects of commissioned work Patti initially found difficult was negotiating a price. “My customers are not in general people who often attend galleries. They see my work and think: ‘Wow, I’d like that of my Bobby.’ Once they’ve found out the price they often run away in shock!
“I had to develop a formula in which I could land the price gently on them, guiding them towards an understanding that I need to calculate my prices like any plumber does. I have expenses to pay and the taxman needs his cut. I designed a leaflet with my prices listed, starting with the cheapest, which is a small pencil drawing, and slowly going up according to size and materials.”
Patti has rarely been let down by people failing to collect a piece, or refusing to pay. She presents the customer with a clearly detailed contract, charges a down-payment and will not let the finished painting leave her studio until payment has been made in full. She includes a clause that allows people to waive the full payment if they’re disappointed with the work. “This doesn’t happen very often,” says Patti. “Usually I’m able to alter the portrait or redo it to the client’s satisfaction.”
Marketing Ideas for the Pet Portraitist – Attending Pet Shows and Local Events
Patti markets herself by taking her work to numerous shows, from large horse and cattle shows to local dog-walk events. She also receives work through word of mouth and says that these customers are the easiest to deal with “because they come well prepared and know what to expect.” Patti's website is also a useful forum for marketing her portraits of animals and koi.
Painting Portraits of Pets and Other Animals can Generate a Steady Income
Patti estimates that she spends 20-40 hours weekly on pet and other animal portraits, excluding time spent at trade shows, liaising with customers, telephone calls etc. In 2009 an exhibition of non-commissioned work proved profitable. Although Patti says it’s difficult to define an ‘average’ wage, she estimates that she generates the same income as a full-time factory worker.
While this may not be considered riches, painting pet portraits on commission has allowed Patti not only to extend her skills as an artist, but to develop the business acumen of contract negotiation and customer service that are critical to today’s working artist. Two more exhibitions are planned for 2010.
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