(My column appears at the Fine Art Views art-marketing newsletter.
Hint: This is a question you DON’T have to answer!
We continue our series on how to respond to difficult questions and comments from our visitors and potential collectors.
Today’s queasy question (ah! Alliteration!) is, “How long did it take you to make that?”
Let me tell you what NOT to say: “Two hours!”
True story. In a video created for a new open studio tour, the videographer asked this question of an artist who was finishing a large painting in their studio. A VERY large painting, in the neighborhood of 10×8 FEET. As they finished up with freely broad paint strokes, they glibly said, “Oh, about two hours.”
The work was priced at over $5,000. You do the math.
And frankly, most of us hate this question because of just that—we assume the asker wants to find out how much we make an hour. Or even worse, whether the work is worth the hefty price we’re asking for it.
Another true story: Many, many, many artists, when asked this simple question, respond with something along the lines of, “It took me 30 years to learn how to do this!”
So between excruciating naivete’, and exquisite irony, how do we respond?
First, let’s take a step away from our first assumption—that someone wants to know how much we make an hour, and whether the piece is worth that.
Bruce Baker turned the question back onto the asker. With lightness and sincerity, he said, “So many people ask me that question! Why do you want to know?”
And here was the heartbreaking response he got: “All my life I’ve dreamed of being an artist. I’ve always wanted to make something creative like this, and I just wondered how much time it takes….”
So what we might have interpreted as a challenging question (“Is your work really worth what I’d have to pay for it??”) turns out to be the wistful yearning of someone who deeply admires what we’re doing, and wishes they had the skill, the commitment, the chops, to BE LIKE YOU.
If we respond with sarcasm, frustration, anger, pointed humor, we may actually crush the dreams of someone who is so inspired by our work, they’ve actually reached out to connect with us.
And in return, we smacked them down in our defensiveness.
You can also now see the smack of the remark, “It’s taken me 30 years to make this!”
Of course, that may not be the real reason behind EVERYONE’S inquiry. But it’s a good place to start on how to respond!
Here’s what’s worked for me:
First, I say, “That’s a really good question!”
(No matter how many times WE’VE heard it, it IS a good question. It’s new to the person asking it. And this small courtesy sets a lovely path for us to proceed down, with them eagerly joining us on our way.)
In my case, I explain the many, many, many steps it takes for me to actually make the layered block of polymer that is the foundation of the faux ivory technique—over 30 steps in all.
I start with asking, “I always ask people if they are familiar with puff pastry or samurai sword making, and usually everybody says “yes!” to one or the other.” A tiny joke that usually offends no one, and appeals to most.)
The actual process is similar—a simple one that creates hundreds of very fine layers–but time-consuming. (Simple—but not EASY.)
At the end, I say, “And THEN I start to make my animal….” There is almost always a little gasp of amazement here… (From them, not me.)
Then I explain the shaping, the marking, the texturing, (all with special little tools) the baking, the sanding, the sanding, the sanding, the scrimshaw technique, the polishing.
Then there is the story behind the marks, the handprint made with stamp I created of my own handprint, and how it “didn’t look right” so I actually use a needle to prick the clay and fill in the handprint until it looks smudged, like a real handprint….all the dozens, hundreds of tiny details that add up to the artifact looking exactly right to me.
Yep, even my handprints have gotten better over the years. I don’t know why, but people gasp when I tell them that each tiny dot is a needle prick I made to get it to look just right. (My special talent: Needle pricking.)
Most people are fascinated by this story, right down to the beads I use to make an artifact into a piece of jewelry (gemstones, antique trade beads, my own handmade beads); the meaning of the markings; how my customers have added to the stories behind my work; encouraging people to touch and pick up the pieces, to feel them for themselves.
Notice I never actually say how long it takes me to make them?
Because that isn’t really what people are asking.
Yes, they are asking for validation for my prices, which aren’t cheap. But in the end, what they learn from my “answer” is…
I have a vision.
I have a story.
I have a process that is time-consuming, and has evolved over time.
I have integrity, and skill, and an exquisite eye for detail.
My work does have value, though it may only be in the eye of the beholder. But that is for THEM to ultimately decide, isn’t it?
The woman who said it took her two hours to paint that canvas mural? I would have said something along the lines of, how she came to create this kind of work. How she decided her subject matter. What her aesthetic was based on. (I actually loved her work, which may seem ‘simplistic’, but is actually playful, exuberant, and intriguing.) The challenges of creating very large work, including the huge canvas, the support structure for it, how she enlarges a design (I know from experience that “going bigger” is more than just “making it bigger”….) The actual painting might only be two hours. But the planning, the design, the execution, the finished presentation, might consume many hours, even days.
After all, she doesn’t make four in one day, does she?
So between two hours, and 30 years, how would YOU frame what it takes to create the work you do?
What are ways YOU can present the time involved in making YOUR work?
What are the things you pay exquisite attention to, that add value to what you do?
What is the story only YOU can tell, to connect your audience to the work you make?
Okay, dish! Share YOUR favorite responses to this question! Or suggest one, now that you have a different lens to view it through.
Remember: Courtesy. Kindness. Furthering your values and vision. No jibes or jokes.
Just the beauty of your authentic, steadfast, creative heart.
Here’s my column for Fine Art Views, on how to move on when people say hateful or rude things about your art. Stay posted, because next Saturday, I’ll share some great responses!
My column today at Fine Art Views, about landscape painting, connecting the work of our heart with an audience, and…well, making the bed!
Enjoy, and feel free to comment.
You can still share the how, but ground it with your ‘why’.
This week on Fine Art Views, I wrote about why it’s more important to share the ‘why’ of your artwork (why you make it) than the ‘how’ (how you make it.) Like a magician sharing how he does his tric, focusing only on the ‘how’ takes away a huge part of the magic of what you do.
Readers raised a few interesting points, noting that our customers do want to know how–so they can tell their friends, and be more invested in the artwork they’ve purchased from you.
I couldn’t agree more. As I said in the original article, I do provide a simple explanation that describes my process. Puff pastry, Samurai sword-making, scrimshaw.
But I believe that why you chose the ‘how’ is even more important to your audience.
One of my best signs in my booth is this one:
Welcome to my world!
I make artifacts from a lost culture, an imagined prehistory.
My work is inspired by Ice Age cave paintings and other prehistoric art. I want my artifacts to echo real ivory carvings of horses, deer, bear, fish and birds.
I use polymer clay, stacked in layers and stretched to make a block that has the grain and the feel of ivory. I make each animal one at a time, then bake, carve, and polish. The hands you see are miniature images of my own hands. A scrimshaw technique brings out the details of the markings.
I use polymer because I can make it look like real ivory, soapstone, coral, shell, and bone.
Unlike working with real ivory or bone, no animals are harmed.
Polymer is durable, yet lightweight and comfortable to wear.
I want my artifacts to look like they’ve been worn smooth by the touch of human hands. (Feel free to touch!)
I imagine the stories they carry. I retell those ancient stories, with these modern artifacts.
I use antique trade beads, semi-precious stones, and other collectible beads, to give my jewelry the look of a treasured piece, handed down through time, and many hands, and many hearts, connecting those ancient artists of the distant past, to you.
Do you see how the ‘why’ of my choice of techniques and materials, fits into my overall story about my art?
To get back to Bruce Baker’s comments that I mentioned in my Fine Art Views column, explain your choice of technique in terms of how it benefits your collector. “I use titanium glazes because they let me create colors that are richer and more vibrant. I use a higher firing temperature because it makes my pots more durable, so they’ll last a lifetime.” (I have no idea if this is true, I’m not a potter myself, so I made it up.)
Another point was raised about being generous in sharing our techniques. I agree whole-heartedly.
But I’m not paying booth fees to give people a one-on-one class in how to do what I do.
As I said in my column, there are people who are only interested in your techniques. That’s fine, but they don’t get to use up my precious energy when I’m doing a show, or hosting an open studio. When people want more technical information on how to create faux ivory with polymer clay, I tell them it’s practically in the public domain, and recommend websites and how-to books to check out. Or I ask them to contact me after the show.
There’s being generous, and there’s being generous. Only you can decide how much of your time , and energy, you want to spend teaching in the middle of selling your work, and whether or not you want to be compensated for that. I’ve found my own middle ground that reflects my integrity and priorities. You are always free to find yours, and it’s perfectly fine if it’s different than mine.
Telling the “how” undoes all the magic you’ve created.
Today’s column for Fine Art Views, on why you should’t focus on the how. (Hint: It’s about disappointment.)
My nephew is getting married today in Chicago. He’s the first grandchild in our family, and the first one to get married, too. I wanted to be there.
(This is a long shaggy dog story about poor customer service, so if you’re not in the mood, just scroll down to the last few paragraphs.)
So I spent hours researching flight schedules and ticket prices. Found a great deal on Spirit, non-stop (bonus!) and acceptable times. (We live two hours from various airports, so 6 a.m. flights are not an option….)
I made my sisters & sisters-in-law (old and new) jewelry two days before. I went over my wardrobe the night before. I packed my bags, got a good night’s sleep, and printed out my boarding pass.
In hindsight, maybe I should have foreseen where this was all heading when I realized I had to pay an extra $70 to carry on ONE bag ($35 each way.) And to ensure an aisle seat (knee surgery last month, remember?), I had to pay an extra $20. So the “bargain fare” was beginning to look less and less like a bargain.
Oh, well. It was worth it, right?
We left for the airport with my husband in good time to catch my flight.
My husband dropped me off at the terminal for Spirit, and that’s where the real fun began.
I had a mental hiccup–do you have to check in if you already have your boarding pass? I asked one of the “line helpers” at a neighboring airline.
“You with United? No? You have to go over there for Spirit.” I told him it was a pretty generic question, but he wouldn’t answer. I wasn’t “his” customer, so he just insisted I go somewhere else. Of course, I realized after one quick look at the ticket kiosk that I was all set. As I walked away, he followed me, saying repeatedly, “Miss! Did you get the answer to your question? Can I help you?” Well, thank you for the help–NOT.
I went through one of the longest security lines I’ve ever seen, with a nervous gentleman behind who kept trying to nudge me forward or snake around me. He finally succeeded in doing so, only to be pulled from the line to be searched. HA!
I found my gate and sat down to wait. And wait. And wait.
Finally, one of the other passengers went up to ask what was going on. Guess what? Our flight was cancelled. When were they going to announce it? In a little while. Why? There was bad weather in Chicago (which I found out later was not so bad and didn’t last long.) Our flight was not delayed, or rescheduled. Just cancelled. There would be no rebookings til the next day, in the afternoon. AFTER the wedding.
A bunch of us tried to find a new flight, but it was difficult. I realized I’d be arriving very late, if at all, and exhausted (still recovering from surgery, not much stamina.) I decided to just get a refund and go home. I’m glad I did, because I saw the other passenger two hours later, still trying to rebook her flight with another airline, with no success.
I called the hotel to cancel my reservation–I only had a couple hours before a penalty fee would kick in. I was put on hold several times. The agent asked for my confirmation code eight times. (No exaggeration.) She kept asking when I would be arriving. I kept reminding her I was cancelling. She kept putting me on hold to “check with a supervisor.” After being kept on hold for 10 minutes, I hung up and used my smartphone to cancel the reservation on their website. It took me one minute.
I decided to have lunch while waiting for Jon to come pick me up. I went to the only restaurant outside the secured area. I asked the man at the cash register if it was self-serve or table service. (It looked like both, and I wanted to be served.) “We have table service,” he said. “Sit anywhere!” I sat down and waited. And waited. And waited. After fifteen minutes, (and after several larger groups were seated after me, and waited on before me), I decided to just get a salad to go and eat it in the hallway. I picked a packaged salad and waited at the cash register. And waited. And waited. Near me were a group of waiters chatting. I waited about five minutes, then turned and walked out. As I walked out, one of them ran after me, saying, “Miss, can I help you? Miss! Did you want something??”
I got a quick sandwich at Dunkin’ Donuts. (I was desperate.) Jon soon arrived, and we started home.
We decided to stop in Jaffrey and eat at a very nice inn. It was lovely. We sat on the screened-in porch and watched the world go by.
After a few minutes, I left to go use the restroom. Jon said it was kind of hidden, and to just ask one of the staff. After wandering through a few rooms, I saw a waiters station with three staff members talking. I waited til I caught the eye of one of the waiters and said, “Can you tell me where the restroom is?”
And he said, “Yes.”
I waited. He waited. I waited. He waited.
I know he thought he was being funny. I know he didn’t know I’d already had a 10 hour day full of waiting, disappointment, rude and pompous air terminal employees, and a long, hot drive still ahead of us. I know it was a joke.
Unfortunately, I was in no mood.
I turned around and walked out.
Of course, he came chasing after me. “It was a joke, I’m so sorry, the restroom is right there!”
We finished our meal, paid and left.
On the way home, I thought about the day’s events.
I wanted to be at that wedding. I tried hard to be at that wedding.
It’s nobody’s fault that I can’t be there, but it’s certainly not mine. All day long, I dealt with people who were paid to serve me, paid to assist me, paid to give me excellent customer service.
Very, very few of them did.
At one of the fanciest restaurants in the region, I was humiliated. I just wanted to know where I could pee. I politely asked a paid employee for assistance. All he had to do was point and say, “Right there” and I would have been content. Instead, at the end of a very long, exhausting day, I was made the butt of his little joke.
In fact, the best customer service I received that day was from the two cheerful, accommodating women at Dunkin’ Donuts. They were making minimum wage, and they barely spoke English. But that didn’t stop them from making sure my coffee was exactly the way I wanted it. (And yes, I gave them a big tip.)
So here’s the customer service point:
Whenever I write or talk about giving great customer service at a show, in your booth, when I write about how to answer customers’ questions about your work or your product, there’s always someone who insists that a funny, snappy answer is a good thing. When you ask, “How long did it take you to make this?” they respond, “It took me 30 years to make that!” I am here to tell you, it’s not funny to the person who asked you a question.
As a person who was exhausted, in need, and paying a lot of money to have a nice dinner, I just did not appreciate the “joke”.
In fact, I contend it’s not “a joke” nor “funny” to the person who’s at your mercy. It’s condescending at best, and passive-aggressive at worst.
Please. Don’t do this to your customers.
The best service I received that day was from a woman at Dunkin’ Donuts who barely spoke English. She simply kept asking if my order was “okay?” until I said yes. She put more cream in my coffee, gave me more napkins for my sandwich, till I was “okay!” Taking care of me wasn’t “beneath her”. She didn’t even need to smile or crack jokes. She simply took her job seriously, and I am grateful.
All the customer service advice in the world comes down to this, and it’s really very simple.
Treat your customers as treasured guests (until they prove beyond a shadow of a doubt they don’t deserve it, and even them, simply move them on.) Okay, maybe they are stupid. But more likely, they are confused, overwhelmed or exhausted.
If you want your customers to become owners, treat them with courtesy. With kindness. With respect.
That shouldn’t be so difficult, should it?
Here’s my latest article at Fine Art Views Newsletter called
QUESTIONS YOU DON’T HAVE TO ANSWER: Do You Have a Website?
And here’s a tongue-in-cheek article by Robert Genn on how the Art Marketing Board of Canada can help you price your artwork.