Mastering the Commission Process: Setting Expectations and Delivering for Clients

Let’s talk about commissions. You know, those projects that show up in your inbox or DMs when someone says, “Hey, I love your work… would you ever do a custom piece?” And suddenly you’re in it. A little flattered. A little nervous. A little unsure how to make it all run smoothly. I’ve been there. We’ve all been there. Whether you’re new to taking on custom work or you’ve been doing commissions for a while, there’s something about this process that always feels a little different than your typical creative workflow. It has a personal edge to it. A built-in accountability. And yes, some hidden traps if you’re not careful.

The first time I took on a formal commission, I completely underpriced it. I didn’t write anything down. I just nodded a lot, said sure, and started making the work. I wanted to make them happy. I wanted to do it “right.” And I didn’t want to make waves. By the end of it, I had poured weeks of labor into something that paid less than minimum wage. Oof. That was a hard lesson. I still remember the exhaustion. And the awkwardness of trying to say “I need more money for this” halfway through the project. Spoiler alert… I didn’t get more money. But I did get smarter.

Over the years I’ve learned how to handle commissions in a way that feels more sustainable, more respectful of my time, and clearer for the client too. If you’ve ever felt stuck in a commission or unsure how to start one, this post is for you. I’m going to walk through how I personally approach it now, how I set things up, and what I keep an eye on throughout the whole process. No perfection here… just honest lessons and what’s worked for me.

Let’s start at the beginning… the inquiry.

When someone reaches out, whether through email, Instagram, or at a show, the first thing I do is slow down. It’s easy to jump in and say yes, especially when the request feels exciting or flattering. But I’ve learned to ask questions before giving an answer. I want to know what they’re looking for, why they want me to do it, what size or format they have in mind, and what kind of deadline they’re working with. If I get a vague “I want something like your other work,” I’ll follow up with, “Great, can you show me which piece or style you were drawn to?” I try to bring it out of the dreamspace and into reality.

Once I have a good sense of what they’re actually asking for, I think about whether it’s a good fit. Not just creatively, but time-wise and energetically. I used to feel like I had to say yes to everything. Now I’ve learned that sometimes the best decision is a polite no. If a request doesn’t sit right or feels like it’s going to derail my other work, I’ll pass. I’ll thank them and suggest another artist who might be a better match, if I know one. That boundary has saved me so much burnout.

If I do decide to take it on, then it’s time to put it in writing. Yes, even for small projects. Yes, even if it’s a friend or a repeat client. I keep a template that I tweak for each job. It’s not fancy or legalese. It just outlines what we’re agreeing to. I include a description of the project, dimensions, media, colors if needed, reference materials (if they’re providing any), the timeline, the payment schedule, and any revision policy. I also clearly state what’s not included… like framing, delivery, or commercial rights.

I usually ask for a deposit up front. This is something I was afraid to do early on. I worried it would scare people off. But it hasn’t. It actually helps filter out the folks who aren’t serious. I typically ask for 50 percent at the start, with the remainder due upon completion before I send or deliver the work. If it’s a very large piece or a longer project, I might do it in three payments. This structure protects both sides. It keeps you from spending weeks on a piece only to get ghosted at the end.

After the agreement is in place, I’ll check in with them to confirm everything. I’ll say, “I’m going to start on this the week of [date], and I’ll send you a sketch or update by [another date].” Giving them clear milestones sets expectations early. It also gives me some breathing room if things shift slightly, because they know when to expect to hear from me.

That leads me to another big part of commissions… communication. Most problems I’ve run into with commissions over the years came down to a lack of communication. Either I didn’t explain something well, or I assumed they knew how my process worked. Now I try to be very transparent about how I work, how many revisions I offer (if any), and how I’ll check in along the way. If I’m sending sketches, I let them know that this is the point to speak up. If they give the green light, then changes after that may cost extra. I explain it nicely, but I’m clear.

When I’m working on the piece itself, I try to treat it like I would any of my studio work. I don’t like the feeling of making art “for” someone in a way that compromises my instincts. So I choose commissions that align with what I already like to make. That way I don’t lose my voice in the process. I also try to stay present and not overthink whether they’ll like it. That part is hard sometimes. But I remind myself that they came to me for a reason. They already liked something I did. My job is to follow that thread honestly.

If I run into a snag or delay, I tell them. I don’t ghost. I don’t let silence grow. A quick message saying, “I had to adjust the timeline slightly due to [insert reason], and I’ll be sending the next update by [new date]” goes a long way. People are usually understanding if you keep them in the loop. It’s when they don’t hear from you that things start to feel uncertain.

Once the piece is finished, I send them a preview image. Just a simple photo, even if it’s taken on my phone with good lighting. I let them know it’s done and what the final steps are. If they need it shipped, I confirm their address and packing preferences. If they’re picking it up, I offer a few options for times. I always wait until the final payment clears before handing the work over. I don’t release high-res scans or files until everything is squared away.

Sometimes I’ll include a small thank-you note or print as a gesture of appreciation. It’s not required, but I’ve found that people really remember it. It makes the process feel more personal. And that personal connection matters, especially if you want repeat clients or referrals. A happy client will tell their friends. A confused or frustrated one might not say anything, but they won’t come back.

Now, a few things I’ve learned the hard way…

Don’t assume the client speaks “art.” Some folks don’t know what a proof is, or what gouache is, or what archival paper means. Keep your language simple and offer clarity where needed. If they’re choosing between sizes, give them a visual comparison. If they’re trying to describe a color, ask for photo references or Pantone matches. The more specific you can make the conversation, the better.

Build a buffer into your timeline. Things always take longer than expected. Drying time, supply orders, life stuff. Don’t promise a two-week turnaround unless you really mean it. I usually pad my timeline by at least a week or two, even if I think I won’t need it. That gives me space to do it right.

Stick to your boundaries. If you don’t want to offer revisions, say so. If you only do work on paper and they want a mural, say no. You’re allowed to shape the kind of commissions you take on. You’re not an art vending machine. You’re a working artist with a specific skill set and a style that people are drawn to.

And most importantly… leave room for your own work. Commissions can be great, but they can also take over your schedule if you’re not careful. I’ve had seasons where I was doing nothing but commissions and it drained the life out of my studio practice. Now I try to balance it. I’ll book a few at a time and then block out time for my personal work in between. That keeps me connected to why I started making art in the first place.

Commissions aren’t for everyone, and that’s okay. But if you do them, or if you’re thinking about doing them, it helps to have a process that feels clear and aligned with how you work. I’m still refining mine. Every project teaches me something new. Sometimes it’s about pricing. Sometimes it’s about pacing. Sometimes it’s about how much I need to trust myself and not second-guess every brushstroke just because someone else is watching.

So if you’re navigating commissions right now, or planning to open up custom work soon, I hope this helped make the path a little less bumpy. And I’d love to know how you’ve been handling your own commission process. Are you winging it? Do you have a system? What’s worked and what hasn’t?

Let’s keep the conversation going. You can share your experience in the comments or DM me if you’ve got questions or ideas. Commissions can be more than just a transaction… they can be a creative collaboration when the setup is solid. Let’s help each other get there.