A Mile, a Goal, a Lesson

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I decided to run a mile.

I was exploring a TBD health situation, a friend was navigating a child’s learning plan, another was experiencing serious relationship turbulence, and yet another was working on the next level of career success. We felt our middle age collectively. In a conversation, I reminisced about my 18-year-old self, varsity running days, and said, “I would love to catch that guy.” The old man miler (OMM) was born.

My group of friends decided it would be fun to see how fast we could run a mile. The plan was to test our time in September, train for eight weeks, and retest in September.

I am an active adult. I have pursued fitness consistently with a vigor: racing bikes in my 20s and addicted to CrossFit in my 30s and 40s. The mile, however, is a different beast. It is beautifully simple and wildly challenging. You are just running, for ideally less than 10 minutes, and it is definitely not a sprint. Running a mile as fast as you can makes for a very good goal.

In the midst of the OMM, I was asked what other fitness goals I have. It took me a minute to realize that I have never really had a goal outside of consistency and occasionally completing ultra-endurance mountain bike races. I responded, “I want to work out hard enough so that I can eat what I want to eat and not look like I eat what I want to eat.” At that moment, I understood why I likely was having health issues and potentially facing an endless plateau in my pursuit of excellence.

So what makes OMM a good goal, and working out to eat whatever not a good goal?

Something to celebrate.

The old man miler had a clear destination. I knew that in mid-November I could enjoy accomplishment and/or some valuable learning. My experience gave me both. I improved my time, and along the way I got valuable insight on my fitness. I want more endorphins in my life, which CrossFit doesn’t deliver, and, as noted, the value of a good goal.

Something to measure.

There is not an easy way to assess if my working out is living up to my standard of physique. It is hard to know daily where I stand and if other factors might be impacting my pursuit. The OMM was easy to measure. I could run a mile or any distance each day to determine my present speed. I could assess other factors like heart rate and general well-being as well. I knew where I was along the way.

Something to do now.

The old man miler just required some shoes and getting out of the office chair. I had the knowledge and the ability to act. The abstract target of undefined appearance is hard to know if I have the resources and the skills to make it happen. I am a nutritional Luddite by choice. I do not know how to act in the kitchen when it comes to my fitness ambitions.

Something I care about.

I feel my age, and running fast makes me feel younger. The old man miler was relevant to me, and the motivation came naturally to lace on my shoes and head out the door. Not to mention I am slightly competitive, so not embarrassing myself on the track was present when the pounding started to add up.

Something to plan.

The timeline of eight weeks gave me structure. I knew fitness takes time, and I wanted to be efficient in my work. The clear goal, the two-month framing, and awareness of where I was at present made engaging Coach ChatGPT easy. In seconds, she was able to craft a week-by-week schedule of activity. I could continue my gym routine and weave in running-focused sessions.

The OMM was a huge success for me. I shaved five seconds off my time in eight weeks (no, I did not catch my younger self, but if adjusted for age, my 6:47 looks respectable). I learned more about myself, I want more endurance in my life, and I gained further perspective on the value of goals. The purpose, the journey and the celebration all enriched my life.

If you want to talk running tips, the joy and agony of CrossFit, or you want to work on some goals together, let’s do it.

Banner Art Credits: Man Running from Elephants (1901), by Peter Newell, captures a crazed man mid-sprint, chased by a surreal stampede. Watercolor and gouache, the image fuses whimsy with urgency. Comic in form, but unmistakably tense. It evokes the experience of ambition under pressure: when change is coming fast it feels real and invented at the same time: flee it, face it, or find your stride.

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What Good Management Looks Like: Our Dashboard

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If you’re reading this, you’ve already done something most artists don’t: you chose to work on your practice—not just in it. That single decision protects your creative energy more than any productivity hack.

I’ve spent 10+ helping artists and studios turn vision into rhythm (some more successfully than others). The tool I now return to—weekly and relentlessly—is this simple management dashboard. 

Not a trophy. Not a vision board. A basic table where my goals, numbers, tools and tasks sit together and tell me what I can do today.

What this is (and isn’t)

It’s a management tool, not magic. It won’t make art for you or send emails for you. It will make your next step obvious and your progress visible. Overwhelm isn’t solved by willpower, it’s solved by calculated order. The dashboard is how we organize and help the artists we work with grow—sustainably and predictably.

We break everything into five pillars:

  • Strategy: why your practice exists and where it’s going
  • Operations:  making, fabrication, and delivery
  • Comms & Marketing: who needs to hear from you, when and where
  • Sales: relationships that lead to exchange of value
  • Finance & Admin: the structure and its maintenance

Use these five as the architecture of your studio. (And maybe your cloud/drive folders. Naming conventions are boring and clear. Chaos hates boring and clear.)

A 5-minute quick start

  1. Download the dashboard
  2. Make a copy of the Google Sheet (File → Make a copy).
  3. On Title Sheet, set your studio name, year, and team (this auto-fills everywhere).
  4. Paste your key links into Tools / Quick Access (Drive, portfolio, invoicing, email list, CRM).
  5. Add 1–3 yearly goals you actually want under each pillar. Pick one weekly metric you’ll check every Monday or Friday.

And that’s it for today. Consistency is a small deposit everyday that builds compounding interest in clarity and vision.

A spreadsheet dashboard used for artistic management.

What “good management” looks like

Goals are specific, owned, and visible

  • Annual goals live in Yearly Goals with clear owners and SMART framing.
  • Each one is broken into Quarterly Goals—five or fewer per pillar keeps you honest.
  • Status is updated: To be created / Being refined / Ready to use. If everyone owns it, no one owns it.

Why it matters: vague goals are where creative energy goes to die. Specifics invite help and momentum.

Measure the right things weekly

  • In Weekly Metrics, track a short list of leading indicators tied to your quarterly goals: studio visits hosted, proposals sent, collector conversations, applications filed.
  • Money is included but not worshiped—pick some easy things to track like cash on hand, receivables (money on the street) and payables (bills or expenses).
  • Watch your capacity so you don’t sell past what you can deliver, or have a hard number to set operational goals.

A good ritual: a 15–30 minute Friday check-in—update metrics, note one win, pick next week’s priorities and set tasks.

Tools are centralized and named purposefully

  • Tools is one landing pad for the platforms and files you touch every week.
  • Use a simple naming convention (pillar, name, version/date).
  • Park future tools and archive past tools so today’s view stays clean.

The outcome: fewer “where is that link?” scavenger hunts; easier handoffs to future you (or a teammate).

Five pillars keep balance

  • Strategy steers decisions; shiny objects get vetoed if they don’t fit.
  • Operations respects your actual capacity (burnout early-warning).
  • Comms & Marketing prioritizes channels you’ll actually use.
  • Sales starts with people who already know your work—no performative cold outreach.
  • Finance & Admin keeps the basics tidy so decisions are calmer.

A hard truth: creative businesses fail when one just pillar quietly collapses. Seeing all five prevents that.

Signs the dashboard is working

  • You can answer “What matters this week?” in one sentence.
  • Studio time is better protected because priorities are negotiated before the week starts.
  • Follow-ups happen, and relationships strengthen because they stay in front of you.
  • Money surprises fade; decisions feel calmer.
  • Opening the dashboard feels grounding—you see the path behind and the next step.

Keep going

Developing tools is rarely as fun as developing a new technique in the studio. But the right tool buys you time to make the work only you can make. 

If the dashboard feels heavy at first, that’s normal. Keep showing up for those ten minutes every day. Let momentum do the rest.

No one builds a legacy alone. If you want a community or thought-partner while you tune it for your own studio, join Coworking with Creatives or book that first coffee. We’re in your corner.

 

Banner Art Credits: Bowling Green (1910) by Charles Frederick William Mielatz captures a moment of urban rhythm—buildings soldiered up, vendors driving carts with purpose. It’s a scene not of stillness, but of structure—where chaos is contained by empty space. The image captures something good management offers: not control over everything, but order enough to find a clearing and move with intention.

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“All I Have To Do Today Is… Climb This Mountain”

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All I have to do is…

TOO MUCH for today.

I was enjoying a conversation with a writer. They had aspirations for another deal and had found an agent to connect a recent work to a publisher. The agent didn’t have great news. They had been shopping the manuscript to larger houses and were coming up against a common refrain:

“We are only really looking for influencers these days,” and “What do they have for followers?”

From the soapbox of my office sofa, the writer lamented how great art doesn’t matter these days—any hack with a social media presence can get a deal while a great writer sits on the sidelines with a thoughtful and well-crafted manuscript.

Nodding my head, I asked, “What do you need to do?”

He promptly replied, “I just have to build an audience.”

Agreeing, I said, “Yes, but what will you do this afternoon when you leave my office?”

The author was stumped.

We quickly considered what goes into building an audience, and after weaving through ideas of what a brand is, we landed on a concrete story. A brand for an artist that is capable of building an audience requires a narrative. The author left my office ready to take action. They worked on their bio. Building an audience is weeks or months away, but clarity on their story can happen now.

All you have to do to succeed with your art is just… finish the project, sell the painting, find a dealer, secure a show, get a critical review… we all have our list of things we just need to do. The challenge is converting the just that is likely too big and too abstract into something we can act on today.

The agency has been developing a tool to convert big visions into action we can do this afternoon. We happily give the tool, called a dashboard, away. We also offer supporting materials to utilize the tool effectively and consistently, as well as host regular, free professional development sessions to explore business in the presence of smart company.

Banner Art Credits: L’homme qui court après la fortune et l’homme qui l’attend dans son lit (1756), after Jean-Baptiste Oudry, is a playful etching of contrast—of urgency and stillness, pursuit and patience. In one frame, a man scrambles toward opportunity; in the other, his counterpart reclines, trusting that fortune finds those who prepare quietly. Recast here, this image echoes the dilemma of the modern artist: Should I hustle harder, or turn inward?

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Ready to hire a manager? (How do I find one?)

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It is very difficult to operate a sustainable and thriving business. As we are starting our venture, it is tempting to take paths of least resistance. In many circumstances, it is smart to conserve energy. So when an artist is ready to hire a manager, it’s common to look to friends, family, or colleagues who feel safe and familiar.

BUT when it comes to hiring, there is an adage that rings true: “hire slow, fire fast.” It costs a lot of money and time to bring someone new into an operation. Similarly, it costs a lot of money, time, and stress to keep the wrong person in place.

Hiring the right people is an art form worth practicing.

What makes a manager?

When it comes to hiring a manager, the right person needs to have an appreciation for efficiency (getting work done without waste) and a respect for structures. Ideally, they have the ability and desire to build routines, design systems, apply those processes, and repeat. A great manager can improvise, but their superpower is actually found in the mundane.

The skills that make a good manager are not frequently aligned with the skills that make one a great artist. Frequently in the art business world, artists look for a studio manager among other artists. This might quickly yield a willing participant, but the results often frustrate both parties. The employee has experience in the arts but likely gets asked to do things that are not their real strengths or comfort. Meanwhile, the employer is frustrated that work is not being done and likely stressed that an employee has their own creative vision to pursue. In theory, it can and sometimes does work for an artist to hire another artist to manage their business, but there might be better options.

A manager loves systems the way an artist loves art

There are people who see beauty in repetition and clarity in the tasks at hand. (Yes, some artists do fall into this category.) These folks often end up in fields like engineering and business administration. As an artist, these people seem inaccessible from a dollar standpoint—aren’t those high-paying jobs? Yes, they are, but they often pay high because other aspects of the job are unfulfilling: the product being produced is meaningless; the culture of the workplace is soulless; the work is toil with a reward that is a medium for something or someone else.

It is quite possible that as an art studio, you can offer systems-loving folks value that exceeds the traditional paths of engineers and business types. The pay can be part of the reward package, but consider that you have meaning, soul, and inspiring business operations.

A manager likes to be in the midst of things

Finding an organized, systems-oriented person may not be any harder than hanging out at a local engineering school. There are likely people in your network who have the skills to be the manager of a growing business like yours.

There are a significant number of folks in the workforce who operate other people’s businesses—or at least a part of those businesses. They are familiar with corporate systems and tools. If no one comes to mind, you certainly know people who know people. The best place to start your search for your next employee is within your own circle of influence. (This is why LinkedIn is popular.)

Ask people: “What do you do? Do you enjoy doing it? Have you thought about a career in the arts?” You might be surprised by who you find in those already close to you.

Messaging to hire a manager

If you are hoping to find someone beyond the realm of a hustling artist who says “yes” to any gig in the arts, you might have to consider your messaging.

A “studio manager” is not going to catch someone whose résumé includes “engineer” positions only. However, an “Excel wizard that enables others to build monuments” might sound familiar and crazy enough to excite a spreadsheet savant in an otherwise soulless middle management position. The specific skills needed to produce your bold products and services can make for captivating job post messaging. There are no rules for marketing jobs. It is fair, and valuable, to lean into creativity to attract the right talent.

Managing the hiring process

Everyone has a portfolio. No, the manager you hire may not have photos of creative projects they have made successful—particularly if they are outside of the arts world. However, they will have samples of their organization skills and the ability to show how they refined corporate tools. As you are considering the fit of a person to run your studio, consider if their process for organizing aligns with yours. They should be able to use the tools (or introduce new ones) that help your operation keep running even smoother.

It will be important that you can work well together. Remember, a manager is likely being hired to manage your time. Will you let them tell you what to do? And if you are pursuing someone with strengths that are not your own, their personality might also be different. This can initially cause tension. However, if you are serious about getting to new places in your business, then the friction might be exactly what you need to overcome the obstacles you’ve been facing. Trust and respect, although hard to quickly assess in hiring, might be the most valuable aspects to consider when passing the keys to your studio to someone else to run.

“I’m looking for a manager who can also…”

It’s a bonus to hire a manager who is also able to do the work. Does the studio needs operational support? Look for a manager who has skills to apply to production. Is communication is lacking from the studio (grants, newsletters, posts, captions)? Look for someone who has a way with words or marketing experience. Are sales slow? Look for a manager who would be fantastic to bring along for meetings with clients. They can help build relationships and close deals.

Multi-talented folks exist. Clarity on what you need might lead you to the rare gem that can make the studio run more efficiently and accomplish even more.

A manager is a great addition to any studio—especially when the time is right. Good management will get you more time for research and development (i.e., more time in the studio).

If you are ready to hire a manager but still uncertain, we might be able to help. Consider signing up to learn about our free monthly virtual professional development workshops or schedule time to chat. 

Banner art credits: The Northern Whale Fishery: The “Swan” and “Isabella”, c. 1840 is a oil on canvas work by John Ward of Hull. Known as a premier ship and marine oil painter, his family background in the industry must help to create such a mystical, nautical scene. The careful, finely detailed figures have a sharpness that give them clarity and strength against any backdrop.

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Am I Ready for a Manager?

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If you are feeling overwhelmed by the work to be done, a manager might be a great addition to your team. A manager makes sure that work gets done, and can help you conserve energy in the process! Are you ready for a manager? 

If you are not managing yourself, then you likely are not ready to be managed. 

However, there are alternatives and ways to prepare. Before you take the step to hire someone to oversee your business, it is important to assess your readiness; otherwise the hire may cost you more than you expect. Dollars will go out the door, and stress (the only true killer cost) will rise. 

Here’s some ways to start preparing your practice to take big steps and be ready for a manager.

What does a manager do? 

Generally, a manager oversees the use of resources to ensure that a business accomplishes what it sets out to do. These resources include what you imagine in a studio—supplies, materials, and money. More significantly, a good manager keeps an eye on the most expensive resource of any business—they manage time.

Are you ready for someone to tell you, advise you, or hold you accountable on how you use your time? If you answered no, a manager is NOT the right person to hire (yet).

Do you know what work needs done? 

There are many projects and tasks that a business needs to do to stay viable. Bringing a manager in to get EVERYTHING done is not a reasonable ask. The studio needs to have direction on the work that is at hand. 

  • Is there production to be done? 
  • Are there relationships that need to be taken to the next level? 
  • Are there opportunities to research? 
  • Do you need help getting the word out to the right people? 

Specific work is much more reasonable to accomplish than a generic ask for a manager to “run a business.”

Do you know how the work gets done? 

There are different paths that arrive at the same destination. This is true of the work that needs to be done in a business. There are multiple ways to stretch a canvas, chat to someone on a phone and organize files. But unless you have clarity on your way of doing these things, having someone else try to do it for you, or manage it for you, the relationship will frustrate all parties. 

If you are not clear on exactly what needs to be done, it will be very difficult for someone else to oversee it.

They will do things wrong (or, at least, wrong according to you.) You have routines and systems that you utilize to accomplish the day to day work in your business. Are they just in your head or have you written them down? It is arduous to create standard operating procedures (SOPs) but if they are only in your head you will have to repeat them every time someone else sets out to accomplish the task. 

If they are written down they can be utilized by others with clarity. More importantly, they can be improved upon by someone else. If not, when you hire someone else to assist in accomplishing the tasks at hand they will likely do it wrong.

Alternatives (if you’re not ready for a manager)

If you…

  1. are ready to have your time managed,
  2. know the work to be done,
  3. have clarity on how it is done,

…then a manager may be a great hire to optimize the business.

However, if you still aren’t sure about your next hire let’s consider what might be the right fit.

Say you have clarity on the work to be done, and structures that someone else can build upon but you aren’t willing to give up oversight of your time (B and C but not A). Potentially what you need is a technician, someone who can do the clearly outlined work. You are not hiring them to optimize or manage your system, but only to be a part of it.

Say you’re ready to have your time managed but don’t have clarity on the work to be done or the structures you utilize to accomplish the work (A but not B or C). A good manager could possibly help you. However, a coach or a strategic consultant might be even more valuable at this stage. They can help you equip the business to grow and be ready for a manager.

(Note: A strategist will cost more than a manager, and a manager will cost more than an employee or technician.)

Ready to grow but not quite sure what the next step is? Reach out or consider joining a free virtual professional workshop.

Banner art credits: Hudson River, Logging is a watercolor over graphite on wove paper work by Winslow Homer. The expansive watercolor landscape with two very finely detailed subjects logging in the foreground captures the energy of work done in a magnificent, yet calming setting. The graphical nature of watercolor blocking makes it particularly apt for digital interpolation and precise, experimental recoloring. 

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What Is a Business Model and Why Your Artistic Business Needs One

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As a creative person who wants to earn a living, you might think that’s as easy as selling the fruits of your creativity. That’s true on some level, but it’s likely not enough to get you to a point where you can sustain yourself. Having a business model that you understand and can craft into a business plan will help you get more time in the studio doing what you love!

 

If you desire to build a sustaining business out of your creative practice, sign up for our newsletter with insights on creating a business that gives you more time in the studio.

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When you look at the careers of successful artists, it might seem like they got there through sheer luck. Maybe they were at the right place at the right time. They found a patron or stumbled into a relationship with a dealer when out on the town. But that’s probably not the case. 

The truth is that more often than not, getting to the point where you’re earning a living off your art takes more than just divine intervention. It takes thoughtful planning. That’s where having a business model for your art comes in. Hours spent building your business model will give you many years in your studio.

 

What Is a Business Model?

A business model is a plan that describes how you intend to make money. Every business—no matter what size or type of business it is—needs to have a business model. A business plan, built around a business model, gives definition for what needs to be done, and prepares for when things don’t go as expected. A plan can also be used to attract resources, money and talent, to a firm. 

Business models can be simple or complex, but they do need to have some key ingredients if they’re going to be useful. While larger businesses often use very complicated business models, I find the Business Model Canvas to be the easiest and least cluttered way for an artist to conceptualize their business. 

In my experience, a business plan, which we will connect to the model, minimally needs:

Executive Summary:  A short description of what the business is, what it does, and who it does it for. 

Market Analysis:  An understanding of how an artist’s work, the products, fits into the market; i.e. is it fine art, public art, 

Marketing Plan:  A method for identifying and attracting audience and customers.

Sales Plan:  A process that identifies your sales goals (transactions), tactics, and challenges for closing sales.

Finances: A description of your sources and pricing, and the costs required to produce the goods or services. 

Team Players:  The critical people that make the business run. That certainly includes yourself, but it might include staff, partners, vendors, venues, etc.

For internal purposes it is valuable to have a plan of operations. These are the manuals for production and process for delivering services, as well as the means of maintain great company culture.

Of course, none of these items exist in a vacuum. You need to understand how they connect and influence each other.The business model canvas is a tool that outlines and connects the different aspects of a plan.

Value Proposition: What is the unique value that your work brings to your audience?

At the heart of any business is the value it is producing for the world. This will influence internal operations of production and external communication of marketing and sales. The executive summary of a full business plan will focus on the value proposition and concisely address other facets of the plan.

Customer Segments and Channels: Who are your customers and audience? Who will value what you are doing? How will you present the value of what you are doing with them? The marketing portion of a business plan will identify customers and define methods of connecting with them. 

Customer Relationships: How will you build a relationship with someone from meeting  for the first time to being a repeat audience member or customer? Sales is about building relationships, a sequence of exchanging value. The plan for sales will define the process the business uses to develop and grow meaningful relationships with its audience. 

Revenue Sources + Cost Structure: How will the business make money, what will it cost to generate the revenue. The financial piece of a business plan has many details and most relate to revenue and expenses. The plan may also define sources of outside cash like investors, patrons and traditional banks.

Key Partners + Key Activities + Key Resources: How does the business make its product or deliver its services? What special relationships, resources or skills are required? This is the operational plan for making a product or delivering a service. A note on partners, they are critical vendors and others necessary for your operations who also share in risk and reward. 

Do You Need a Business Model?

I hope that by the time you’ve gotten to this point, you realize the answer is a resounding YES! Putting them together can be challenging, particularly if you’ve never done one before. That’s where I come in! I’m happy to help you strategize your business model. Contact me to schedule a chat or join one of our Creative Coworking sessions. 

 

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Cash Flow for an Artists: What Is It and Why You Need to Pay Attention to It

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Have you ever opened your banking app to look at your balance, only to find it’s much lower than you thought it would be? Not my favorite feeling either, but if you have encountered this sensation, then you’ve experienced the effects of cash flow!

If there never seems to be enough cash on hand for your creative endeavor, consider signing up for our business of art newsletter.

 

Just like you need to keep an eye on your personal account balance to make sure you have sufficient funds to live, so too do you need to pay attention to what’s coming in and going out of your business to sustain your practice. That, in a nutshell, is cash flow. 

When mastered, strong cash flow for an artist can make the difference between a business that’s healthy and one that’s no longer in business, or the difference between making more art or waiting for the next check. Let’s take a closer look at what cash flow for an artist  is, how to ensure you have a positive cash flow, and the impact that it can have on your arts business. 

 

What Is Cash Flow?

Cash flow is the movement of money through your business. Typically speaking, money coming into your business is revenue, while money going out of your business is expenses. Cash flow for an artist takes into account both revenues and expenses to date, as well as future revenues and expenses. In this sense, it’s also a forecast of what you can expect financially.  

Cash flow is calculated over a duration of time. Frequently it is analyzed over the course of a month, but you might also calculate the flow for a day, week, quarter, or year. A month tends to be most helpful as “bills” or invoices from vendors are usually calculated on a monthly basis. 

What Is Positive Cash Flow?

Cash ebbs and flows; sometimes we have more cash on hand, sometimes we have less. Having a positive cash flow for an artist means that more money is coming into your business than going out. It’s a sign that your business is healthy. It’s important to note that this doesn’t necessarily mean you’re profitable, as things can change over time. 

The dynamic nature of your cash position makes it important to look at your cash flow monthly. Consistent check ups allow you to a) ensure you’re not spending more than you’re taking in and b) adjust your forecast of revenue and expenditures of future cash flow to keep sufficient funds on hand to stay operational. And yes, when you are in business for yourself you can control the expenses and revenue. You can put more energy into marketing and sales to increase revenue, and you can reduce costs by changing vendors for products and services.

Additionally, a cash flow report for a certain period is often required by banks and lenders in cases where you need to take a business loan. 

 

How to Calculate Cash Flow

There are a number of ways to calculate cash flow for an artist, some more complex than others. If you’ve invested in an accounting tool, they frequently offer a cash flow report, but it’s good to still understand how it’s measured. 

A basic cash flow formula looks like this:

Income – Expenses

So, for example, let’s say last month you sold $5,000 worth of art. But you also spent $3,000 in expenses such as supplies and materials, studio rent, utilities, etc. during the same time period. You therefore have a $2,000 positive cash flow for the month; i.e. $5,000 revenue – $3,000 expenses = $2,000 cash flow) .

You can certainly project the same numbers out over a time period, but it’s important to take into consideration that both revenue and expenses are likely to fluctuate over time. That is, you’re not going to necessarily bring in $5,000 every single month, and your expenses may shift based on your business activities. 

But, let’s say you want to project your cash flow for the next four months. That’s a little trickier, particularly for an artist with revenues and expenses that fluctuate. A cash flow report might look like this:

January February March April
Cash at beginning of period $5,000 $7,000 $5,000 $9,000
Estimated Revenue  $5,000 $2,000 $6,000 $3,000
Estimated expenses $3,000 $4,000 $2,000 $3,000
Final Cash on Hand (change in cash + cash at beginning) $7,000 $5,000 $9,000 $9,000

 

Of course, your cash flow report should be more detailed, with itemized expenses and potentially income (particularly if you have multiple income sources). 

Ultimately, putting together a cash flow report and reviewing it on a monthly basis will help ensure you’re staying on top of expenses, operating within the bounds of your income, and whether or not your business is on a positive track. 

Your cash flow report can also help you prioritize your activities. If you need more revenue, you may want to work on your sales or marketing. If you have ample cash on hand, it may be time to invest in new equipment or more materials. Understanding cash flow for an artist, can give you more time in the studio with better gear to make the things you want to make!

 

Want help putting together a cash flow statement? I’m happy to help! Set up a time to chat with me or check out one of our Coworking with Creatives sessions. 

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Art Business Marketing: Goals and Measurement

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Art Business Marketing is not a mystery. Growing your audience in ways that are true to you can be easy and enjoyable. Let us show you how.

This post is Part 2 of a multi-part series. Subscribe to our Business of Art newsletter to receive notification when additional posts are published. 

 

In the first part of this series, we discussed the basic parts your marketing plan needs to have. In this, and a few future posts, we will go into more detail about what goes into each part of art business marketing and how to put them all together. Think about it like drawing a roadmap with a clear destination, a pathway to get there, and measurable milestones that you can track to determine if the plan is succeeding. 

In this part, we’re going to talk about goals, the clear destination, and measurement, the milestones along the way. If you haven’t already, I highly recommend you go back and read Part 1 before reading this.

Let’s dive in! 

Goals

As we mentioned in Part 1, goals need to be specific and measurable. This is where you want to think about the big picture of what you want to accomplish. 

Some examples of goals could be:

  • Increase sales by 10 percent.
  • Hold 2 gallery openings in a year. 
  • Secure 3 commissions. 
  • Earn $50,000 total revenue. 

Spend some time thinking critically about what you specifically want to accomplish. For example, let’s say you want to sell commissions. Who do you want to sell them to? Do they need to be a certain type? A certain dollar amount? A certain size?

A key part of developing goals is making them realistic. If you’re just starting out and you’ve never sold a single piece in your life, then going from $0 to $100,000 is very unrealistic. Instead, focus on what you honestly believe you can achieve. 

Although these goals may not look like marketing goals, they will significantly influence how you approach your art business marketing. These specific destinations will help you define the audience and customers that you will need to engage during the year. To reach these goals you will need to think about: what galleries you want to show your work in, who will commission you, and who are the customers that will buy your work to generate your revenue. These details are important to your roadmap (marketing plan) for success.

 

Measurement 

 

Your goals will determine what you need to measure. In our map example it is helpful to measure the miles you have traveled towards your destination, it is probably much less helpful to keep track of the number of cows you pass.

For example, if your goal is increasing sales by 10 percent over the previous year, it’s easy to measure whether you’re on track to meet that goal or not. If last year you generate $20,000 of revenue in your art business, this year you want to increase thatto $22,000. Another way to see that is about $200 extra of revenue generation each month. This might mean one more customer or 4 more print sales.

The trick here is to make sure you’re measuring things that are actually important to meeting your goals. We call these “metrics.” So if your goal is to increase sales, you may not find it useful to measure and track things like social media engagement—unless they correlate to closing sales.

An easy way to do this is to document your process. You can choose any tool/place to do this. For instance you could set up a spreadsheet where you can add monthly stats such as sales figures, website traffic, social media followers, etc. At first, it might seem like busy work. And you may start by tracking things that only seem tangentially relevant to your goals. But over time, patterns will start to emerge. Over time, the more data you track, the more you’ll be able to judge whether they contribute to your success. Using social media followers as an example, you might find that whenever your Instagram follower count grows by 5 percent, you get more sales. 

Keep in mind that metrics are finicky. What works today might not work tomorrow. That’s one reason why it’s a good idea to review your marketing plan—and any results you achieved—on a regular basis, which initially may be quarterly but as your business grows you may find it helpful to check where you are at more frequently. 

 

Need help putting this all together? I’m here to help! Check out my Coworking with Creatives workshops or contact me to discuss how I can help you market your art. 

 

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Making Myths and Luxuries: Branding Lessons for Artists

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In the corporate world, we talk about “brand” to discuss a company’s identity. Much like human identities, there are many brand possibilities for companies. Brands can be fun and playful, irreverent, serious, etc.

While the word brand might be too stiff or formal for an artist’s business, artists still have an identity. And developing your identity is key to being successful. For artist entrepreneurs, it can be fun and valuable to explore what identity they want their business to have. Artist branding doesn’t have to be a bad thing.

 

What Is a Brand?

We often think of a brand as a logo, but it’s a lot more than a stylish symbol. A common phrase in corporate marketing is, “A brand is what your customers say it is.” In other words, a brand is the emotional connection between the company, its products, and the customer. A brand is complex; it is the essence of a company and the relationship of that essence to its audience. 

When customers buy something from a brand they like, they’re not just buying a product or a service. They’re buying meaning, something that goes beyond function and reflects on how the customer views themselves. 

 

Something similar can be said for art. 

 

Certainly, most people don’t buy art for its functional value the way they buy, say, a pair of shoes or a car. They buy art for how it makes them feel. A big part of that is the storytelling that happens around the art, what I like to call the Myth.

 

Myth Making for Artists

What makes one artist more well-known than another? Is it that their work is better than others? 

Sometimes a revered artists work IS better, but likely what makes an artist more well known than another is differentiation! More often than not, it’s the myths created around the artist and their artwork that heighten the audience’s value of the creative output. In branding, we call this “myth” a brand story.

 

What is a myth, exactly? 

 

It’s more than a story. Myths often have some common characteristics, including:

  • A story with a nearly unbelievable—but still possible—arc. 
  • An origin, a transformation, and an expansive possibility

Myths are created to teach us, to inspire us, and to help us understand our own experiences in the world. The ability to craft and articulate a myth can be very valuable to an artist seeking to sustain themselves through the sale of their artwork.

 

For artists, this usually translates to:

  • An origin story somewhere between truth and fiction, but that showcases the artist’s humanity. It is where you are from in all aspects. Your hometown, your family, your friends and colleagues, and all the unique things and experiences that make you, YOU.
  • A transition where they experience concepts and learn skills to turn ideas into things. It is how you emerged as an artist. Your early experiences. The teacher that recognizes your talent. The training that refined you. The critique that made you. The transition is the awareness of you as a creative force.  A vision of things yet to exist. The artist has dreams of concepts, ideas and inventions that will enrich them as a creator.

 

So how does myth making translate to selling art? To understand this, it’s important to understand what type of business you want to be and to develop a myth that embraces the type. 

 

Three Types of Businesses

There are essentially three types of business: Commodity, Premium, and Luxury. Let’s take a quick look at what each of these are. 

 

Commodity Business 

Commodities are interchangeable goods or services. Their price is controlled by the customer, who can buy any number of products or services that are nearly the same  from a selection of vendors. For example, it doesn’t matter whether they buy the store brand of sugar or a name brand. The product is essentially the same and the creator has no control over the price.

 

Fine art is rarely sold as a commodity, though there are certainly websites where artists can sell various quality prints of their work as a commodity. This might be most akin to an unlimited print run.

 

Premium Business

A premium business sells differentiated products or services based on quality of material, skill, or customer support. The prices are often tied to what the market will bear, but is also greatly influenced by the quantity and expansiveness of offerings that supply has created in the marketplace. The creator has some control over the price, although the peers that they are competing with will influence price as well.

 

For an artist business, a premium business model can make a lot of sense. The artist often selects ideal materials for their creations and their skill is often high caliber. Together, the quality of materials and expertise of craftsmanship to make a work of art can command premium pricing, although your price may be influenced by your fellow premium peers.

 

Luxury Business

Luxury businesses are distinguished from the other types based on often irrational, subjective reasons. Products and services in this category are driven by scarcity, usually manufactured, and priced much higher than the value of the materials or skill needed to create them. In some ways, luxury products transcend reality by enabling the customer to be, think, say or do something beyond themselves. 

 

Think of almost any high-end luxury clothing brand where it’s all about the designer’s name and the brand rather than the material of the product or the skill of the person actually making the goods (either by hand or using machines). 

 

Art easily lends itself to this category, and much of society also sees art as a luxury. Not only is art a perspective, expression or manifestation of an idea that reflects the buyer, but its supply is greatly limited, it is usually unique, and only the artist has the skill and experience to create it. As a luxury brand, the artist and their business team can have significant control of the price.

 

Where Does Your Artist Business Fit In?

So what do these three types of businesses have to do with making myths? Oftentimes, the myth defines the business type. In other words, your art might be totally differentiated from every single piece of art out there. But it is your myth—your story, your skill, your experiences, etc.—that defines whether your art is a commodity, a premium product, or a luxury experience. How accessible your myth is to your audience also plays an important role. If no one knows the myth–or understands it–it kind of doesn’t exist!

 

Keep in mind that you may work through all three of these types of businesses over your art career. You might start at the commodity level, maybe churning out similar, less differentiated work at first. Then, as both your artistic vision and business skills mature, you might morph into a premium business, making fewer pieces (i.e. reducing supply) and growing the perceived value of your work. Finally, you might further refine your model to develop luxury pieces and services, such as painting commissioned murals in a customer’s home or designing Diadora’s next show line.

 

Ultimately, the direction you choose to take your business is yours. But if you need guidance in refining your vision and understanding how to build a business that supports your art, I’m here to help. Contact me to discuss how to build your income as an artist in a way that aligns with your artistic vision.

 

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Accounting Tools for Artists

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Let’s face it: Doing accounting for your business probably isn’t at the top of the list of things you enjoy doing. After all, you probably became an artist to express yourself, and spreadsheets and tracking income and expenses is probably not your preferred medium. Yet, as someone who wants to earn a living doing what you love most, you need to do at least a little bit of accounting.  

“Why?” you may ask yourself. 

For one, it is important to know your financial health. Just as taking care of your physical health allows you to create more art, a healthy perspective on your money will serve both your business and your creativity. Of course, you want to make sure you report the right amount of income and pay your taxes correctly in order to avoid major penalties and life-wrecking finances later down the road. And you might be surprised by how exciting it can be when you can see how your business is doing financially—especially when you’re profitable. Good accounting will also improve your pricing! Ultimately good accounting can give you more time in the studio and less time worrying.

Luckily, technology is here to help! There are a number of great financial tools for artists out there to help with accounting. Here are three that I like to use and that I’ve seen work well for some of my clients. 

Before we get to the financial tools for artists, it is important to note that the best tools for your business are the ones you will use. A powerful and great looking app may not be as helpful as a paper and pen sometimes. Choose the tool you want to learn and are willing to embrace!

Spreadsheets

I know, you’re probably thinking there’s nothing less interesting than a spreadsheet. I feel your pain. But hear me out:  The spreadsheet is a powerful tool that, when set up correctly, can make accounting a breeze while also giving you all the information you need to properly run your business. 

The best thing about spreadsheets:  You can set spreadsheets up anyway you like. They’re incredibly flexible to serve multiple purposes, and they are low cost or even free!

The worst thing about spreadsheets:  You have to have a basic understanding of how they work and how to manipulate them to get the most use out of them. They are also pretty boring to look at.

The good news is that there are plenty of templates out there that might be perfect for you, so you don’t have to start from scratch. There are also plenty of resources on how to utilize spreadsheets and even set them up for financial purposes. Finally, there are a number of free platforms out there that offer spreadsheets, such as Google Sheets or Apache Open Office. So, it’s often just a matter of finding the platform you prefer and choosing an appropriate template. 

Spreadsheets are a great financial tool for artists that are just getting started in business. The price is right, they are pretty easy to learn how to use and understand, and there are many individuals who utilize spreadsheets and can possibly help.

 

Quickbooks

Sometimes, it’s good to just pick a well known entity. And in the world of accounting tools, that winner is Quickbooks.

Quickbooks is the industry go-to for accounting software for small business owners. Unlike spreadsheets, you  have to pay for Quickbooks, but they offer a few different packages to fit different budgets. The cool thing about Quickbooks is its many functions.  You can track income and expenses, use it to send invoices to customers, send reminder invoices to customers, manage and pay bills, track inventory, and prepare for your taxes.Quickbooks offers a lot of automation and can connect to your bank account too. Quickbooks might be worth the investment as it will save you a ton of time and headaches.  It also generates reports that can help you make better business decisions that give you more resources (money) and enables more time to create.

Quickbooks is a great  financial tool for artists who have figured out their business to some degree. They likely have gone through a tax season or two and know what their sources of revenue are and what expenses to track. There are excellent resources and lots of professionals to help set it up as well as possibly do the financial work. It is a great financial tool for an artist who wants to automate some of their finance work and is interested in how finances can influence operational decisions.

The challenging thing about Quickbooks is that it requires at least a basic understanding of accounting terminology and principles. It also requires a bit of time and effort to set it up properly. You can certainly do this yourself, but there are plenty of accountants out there who are more than happy to help you with this.

HoneyBook

Want something that’s easy to learn, easy to use, and kinda pretty? If so, you might want to consider HoneyBook.

HoneyBook calls itself a platform to get everything done that you need to. In addition to accounting features, it can help you manage projects, clients, proposals, and more. It helps you manage essential documents (contracts, invoices, etc.), and  allows you to streamline client communications into a single platform. You can  manage bookings (such as if you’re scheduling photoshoots) and payments. Honeybook can be a great place to manage your customer contacts, particularly for relationships points like quotes/estimates, invoices, and tax reporting.  For the full price ($390/year at the time of this writing) you get all the platform’s features, but they do have more affordable plans if you don’t want to make that level of financial commitment. 

Honeybook is a great financial tool for artists who want to integrate their finances, customer information, and production calendar, while creating a high-touch experience for customers. It doesn’t quite have the support system of spreadsheets and Quickbooks, but there are resources and individuals who can help get things set up properly.

 

Want to learn more about financial tools for artists? You’ve come to the right place. Check out my upcoming Finance Friday coworking session where we’ll discuss all things financial for your artist business. Or if you have a burning question now, don’t hesitate to contact me. 

 

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