FAQ

David Grist has answered some of the most frequently asked questions regarding balloon modelling, please check the list before contacting David with your queries.

Q. Why do my balloons keep bursting?

Q. When folllowing instructions for models, say in Balloon Magic, I run out of balloon before finishing the twists. Why?

Q. I make more and better balloons than a colleague but they get more engagements and higher fees. Why?

Q. When making chains of bubbles, say for the head of a teddy bear. some of the bubbles untwist. Why is this?

Q. How much should i charge?

Q. How do you remember your repertoire?

Q. I have been asked to make a large model as a feature for a display. Do you have any guidance on what to charge?

Q. Why do my balloons keep bursting?
A. Could be one or more several reasons. Your balloons could be of poor quality, old or badly stored. The answer is to buy good quality balloons, Qualatex for example, store them in a cool, dark place and use them. Even under ideal storage conditions, balloons deteriorate with time. Check our nails and skin. Any roughness can cause the balloons to burst. And don't forget to burp the balloon, that is let out some air, before tying the knot.

Q. When folllowing instructions for models, say in Balloon Magic, I run out of balloon before finishing the twists. Why?
A. Are you using the right balloons? Some so-called 260s are actually shorter than, say, the Qualatex 260Q favoured by most professional twisters. Where are you tying the knot? Tie it as close to the balloon's lip as possible, not an inch down the balloon. Are you inflating the balloon too far and not burping the balloon? The harder a balloon is, the more balloon is lost with each twist. Are you really checking those dimensions? If necessary, use a rule, at least when trying out new models.

Q. I make more and better balloons than a colleague but they get more engagements and higher fees. Why?
A. Balloon modeling skills aren't everything. You also need good publicity and a presentation style that customers like. When working, remember that you are a professional and an ambassador for yourself. That means looking good and being nice to people. If they don't like you then, regardless of your skills, they simply won't book you.

Q. When making chains of bubbles, say for the head of a teddy bear. some of the bubbles untwist. Why is this?
A. Firstly, you must ensure that you make all your twists in the same direction. Most twisters do this out of habit anyway. Secondly, make each twist with at least two full turns of the balloon. Finally, don't hurry. It's when you do that you become slipshod, like make insufficient twists, and it takes longer to put things right than doing the job properly in the first place.

Q. How much should i charge?
A. That's a question we have all asked and to wich there in no easy answer . However, it is clear that many semi-professional entertainers, not just balloon twisters, undervalue themselves, sometimes chrging absurdly low fees. One reason perhaps, is that they don't take full account of the costs and time involved. Let's look at the costs. Beside balloons and associated equipment, you need good publicity and personal liability insurance, neither of which is cheap. Then there are the day to day costs like phone bills and postage, small amounts individually but they quickly mount up. Don't forget travelling either. It costs around 60p a mile to run your car. One potentially majot expense which must not be ignored, income tax. After allowing for legitimate expenses, you will have to pay tax on the net income. That means you must keep detailed records and possible seek the help of an accountant. Then there is the time element. If you're booked for a one hour engagement, how long does it actually take? You need to get ready and travel to the venue, that's at least another hour. Then you have to return home and unpack, say another hour. Clearly your fee must reflect all this time, not just the nominal hour. Your fee must also reflect your ability, skill and professionalism plus the are in which you work. Quote, say. £75 for an hour's show and you won't get booked in one area because you are too expensive yet in another area because you are too cheap! You can also apply the principle of diminishing returns. Be honest, you'd much rather do ten gigs for £100 each than twenty at £50. It's half as much work for the same money. Start off with what you think is a reasonable fee then increase the fee until you find your income is falling then keep it there. So how much should you charge? That must be for you to decide, but do take account of all the points outlined above.

Q. How do you remember your repertoire?
A. I don't! What i do remember, though, are the various shapes and techniques used to achieve them. That's why at lectures I sometimes demonstrate a model a different way to the one shown on my videos. Remember that balloon modelling is like performing magic; what matters is the effect, not how it is achieved. Some people keep lists and even boast about the number of models on it. Fine, if you can actually make all those models and they're just notches on your balloon gun. What is a good idea is to keep a photographic record of your work, particularly the one-off specials. Not only is it a memory jogger, but, it neatly presented it makes an excellent portfolio to show prospective clients.

Q. I have been asked to make a large model as a feature for a display. Do you have any guidance on what to charge?
A. There are many factors to take into account. Firstly there are materials. Besides balloons, you may well need some form of support or framework. Then there's time, not just the building time, but the time spent planning the project and, perhaps, testing ideas. As to the build itself, if it's a big one you could well need the help of an assistant, if it is only to help inflate the balloons and fetch the tea. If the build is to be at the venue then there are travelling costs and possibly overnight accommodation. But what is your creation worth to the client? Rather than giving them a qoute, ask your client what there budget is. Assuming that it broadly coincides with your estimate, or even exceeds it, you can then agree that you can produce what's wanted for that figure.