Making It

Business Blues. Every artist gets them sometime - when the bank calls about that cheque, or the prospective client wants a free design, or the third draft of the fifteen-page contract arrives on the fax machine. In art school, we were never taught how to run a business. I don't know if this has changed, but I often wonder what the people who ran the schools were thinking of. Did they think we'd be rich enough to hire an army of accountants, business managers and publicists? Or (more ominously) did they assume that we would never be successful enough to need business skills?

Whatever their reasoning, I spent a lot of my early years in stained glass learning business essentials through a process of trial and error. These days, I find that I can handle most aspects of running a business. In a typical week, I’ll play a number of roles - artist, entrepreneur, purchaser, saleswoman, bookkeeper and lawyer. Behind all these “hats” are some basic business skills, which fall into four broad categories: planning, clients, publicity, and money.

Planning

This may be the most difficult skill of all for artists who are struggling just to survive; yet planning can be the key to getting out of that rut. Planning at its most basic level means that an artist must take some time to think where they want to be in five years' time. In this, they must be realistic, and yet not so bound by reason that they don't dare to dream at all. Once a goal is set, the next part is to think of the steps that must be taken to reach that goal. For example, if the goal is to be doing 30% original work (as opposed to restorations) in five years, then one step would be to get to know five architects or interior designers over the next year.

Clients

A business can’t get very far without clients, and “people skills” are an essential part of getting and keeping them. Art is a solitary endeavour, and not every artist will have these skills, but they can be learned. There is no formula for this. Each artist needs to develop a style authentic to his or her own personality. Starting with an honest assessment of their social strengths and weaknesses, they can then take on challenges - speaking in front of a group, for instance - to stretch their capabilities.

Beyond individual styles and personalities, some general principles apply to every artist-client interaction. In my first meeting with potential clients, I try to develop a connection - to get a sense of who they are and what they want the glass to do for them. This is much more effective than trying to work with specific design requests; many people have a limited experience of stained glass, and don't realize all that you can do in the medium. By engaging the client in a sense of journey and discovery, I can open up new doors for them, while making space for artistic freedom in the project itself. In describing my designs and how I arrived at them, I use my clients' words, so they know that they were heard and I am responding to their views. This approach takes careful listening, and requires a good sense of how open the client may be to new ideas. It may be more work at first, but the rewards are worth it; once an artist develops a good working relationship with an architectural firm or interior designer, there are fewer hoops to jump through the next time they work with them.

Publicity

Publicity is a big part of any successful business; with limited resources, artists face serious challenges in getting their work known. Although money can buy publicity, publicity doesn't necessarily need a lot of money. There are lots of opportunities to get to places where potential clients are; the key is to find and make the best use of them. I present museum lectures on the history of stained glass, and conduct tours of stained glass in Toronto. Both of these activities have proved interesting and rewarding and are a genuine extension of my interest in historical glass.

Presentations are also an important form of publicity. Even when they don’t lead directly to a commission, they are a way of getting known by architects, designers and clients. A well-crafted presentation can make a lasting impression, and may lead to a call later on for another job. An artist who exhibits creativity, competence and an ethical approach to business is most likely to impress potential clients.

This means being prepared, and presenting a professional image. In my presentations, I show slides of the process, including how the glass is blown, and technical requirements such as scaffolding and installation. I make sure that I show people as well - people involved in creating, installing and enjoying the work.

Money

Money may not make the world go round, but it does help with the essentials for our art - a place to work, and good materials to work with. By observing my colleagues, I find that there are no secrets for making a living at stained glass; only that the chances of doing so improve with the right combination of artistry, people skills, business sense and sheer hard work. An important principle for any artist is to never sell themselves short. Jobs done for nothing or at a price that barely covers costs don't buy respect. And if they end up being rushed, or if corners are cut, a reputation can be irreparably damaged.

In a talk I gave last year, I listed ten ideas that can help lead to a successful business in stained glass. They summarize the points made above, and present new ideas as well:

1. Decide upon your own strengths and interests within your field by taking a critical look at your work. Analyse what you do best.

2. Write a 5-year business plan, and check it out with others in your field to determine if it is realistic. Get feedback from your heroes.

3. Work hard at overcoming personal weaknesses that might get in the way of your plan.

4. Try working in a cooperative studio for a few years to learn the aspects of the craft you are not familiar with. This also tides you over until you can afford your own equipment.

5. Work full time in the evenings to support the studio. Operate the studio during the day so that clients can reach you or you can go out selling. This does put a strain on one's personal life, but it might be necessary for a few years.

6. If you have a genuine interest in an aspect of your craft which helps you develop a "public identity,” or persona, then work at it (i.e., tours of historical glass).

7. Make personal presentations to architects, designers and consultants. Talk about your background and show "process shots" and details of your work. Engage the viewer in the making of the work. Analyse your presentations from the point of view of the client or committee

8. Encourage clients to make cards of your windows and to send them as greeting cards or postcards. Invest in a professional photographer to do justice to your work. Build this into your fee.

9. Be on time and on budget, no matter what it takes.

10. Remember what you are working for.

Having given most of this space to covering practicalities, the rest is dedicated to what they exist to support - artistry and expression through the medium of stained glass.