Pricing Challenges

I recently had the good fortune to be invited to speak to the Vermont Craft Council. I taught two classes; one about using the Internet for publicity and promotion, and the other about pricing. I was frankly a little surprised by the invitation, but also flattered.

But, I also wondered what I had to say about pricing. I struggle with pricing....like nearly everyone I know. I have yet to meet the crafts person who declares, "I love to price my work!"

It is a task that is put off to the last moment for many of us, or agonized over for too long. As I prepared for this presentation, I reviewed some of my earlier posts about pricing, and in particular the ones about pricing the pear. I had learned a great deal in the process of writing those posts, and once again, I found preparing to teach a class brought forth new understanding.

First off, I recalled that I have always hated pricing. When I was selling oxygen, nitrogen and other industrial gases, I hated pricing. It was nearly always a challenge even then to come up with the right price in competitive bids. When I was a product manager in several companies, and I had to review price deviations with sales people, it was always a stressful process. When I had a business making window treatments, I really felt challenged by coming up with the right price. So, why should this be any different?

If anything there is the added challenge that we are pricing something that we have made with our hands and often our hearts. A piece of us goes off with each piece. How can we value that?

Then there is the challenge of trying to figure out how much will someone else pay for this item? Can we cover our costs...if we even know what they are?

As I reviewed my presentation with my husband, we began to talk about the many factors that go into pricing. That was when I realized how I had always hated pricing. But I also began to see a new challenge that exists in the world of an artrepreneur. The marketplace is dysfunctional. Both the buyers and sellers can play a role in that dysfunction.

Let's look at the sellers first, since this is the easiest...but not easy!....to control. As I reviewed the past posts on pricing, and the many ideas I gathered from readers about how they approach pricing it was clear that not all sellers are pricing in a way that will create a sustainable business. In order to continue to be in business for five years, ten years, or more, a seller must consider all their costs of being in business...not just their cost of materials. Or maybe the labor. If a seller is selling their work in the retail market at wholesale prices, they are doing themselves, and the market, a great disservice.

We need to price our work with the idea of sustainability. That means our overhead, selling expenses, and a profit that can be reinvested into the business in new equipment or other capital purchases, are incorporated into the price, along with labor and materials.

What if you think, "Oh, I don't want to do that. I just want to have fun making things and make enough money to buy materials."?

Okay. What about your cost of display equipment...even just a table....or packaging? Are you including those? Are you declaring your income and expenses with the IRS? Can you honestly say you are in business if you are not pricing your work like it is anything more than a hobby?

Maybe you have moved past that. You can comfortably say that is not me. I don't do that anymore. I price my work so that I can make a fair wage, and a fair return on my investment in my business. But then you go to a show, and you find yourself surrounded by people who are pricing it as a hobbyist. Do you think the customer can understand the difference in pricing, and why the higher price is actually more rational? Does the average consumer at a local craft fair care if you are in business next year? How can you keep your head when everyone around you is losing theirs?

This is where I began to realize part of my underlying motivation to move up to higher quality shows, or to wholesale. The markets are more rational. You are more likely to compete against artists who understand the cost of being in business. They are in it for the long haul. Likewise, the consumer is likely to be more educated as well. They are willing to pay a fair price for handcrafted work. They want you to be around in five years, so that as a collector or as a shop owner they can continue to purchase from you. They understand that you do not need to price the work so that every single person who wants to own it can afford it. You are one person. There is only so much that you can produce.

I am not dissing the local craft shows, or the on-line shops full of dysfunctional pricing. I am just describing the landscape. I did a terrific little show last year at some local art studios. There were people there who had fair prices. And there were plenty with just crazy pricing. But, I did not allow the people who have are pricing too low make me question my own pricing strategy. And I had a great show.

There are also times that you can reasonably lower prices. If you have old inventory that you want to clear out. Or if you have seconds that are saleable. Go ahead and discount those items and convert them into cash.

If you hate to price your work, you are not alone.

If you think it is way too hard, you are right.

But just because other people around you are losing their heads, doesn't mean that you need to lose yours. Hold on tight. Breath deeply. Know what your true costs are, and know what a fair price is.

You may find that a fair price for an item is just not saleable. You may need to redesign the product, resource your supplies, or perhaps even come up with a new idea all together. But continuing to produce it, and sell it for less that is reasonable for the costs you have...that is just crazy. And you know that.

Sustainability. That is the word to hold onto. We want a sustainable planet. And we want an sustainable business. Neither is easily achieved. But both are well worth the effort.

Is It All About the Venue?

Lindly Haunani recently sent me a story.

Watch this video.



Did you notice the protective bubble that seems to exist around the violinist. Even the few who finally stop to listen, keep a "safe" distance away.

The violinist, Joshua Bell. A world class musician. The violin, was worth $3.5 million. He played six beautiful and complex Bach pieces over 45 minutes. Six people stopped and listened for any length of time. About twenty people gave him money, but kept walking.

Just two days earlier, he played a sold out show in Boston. The tickets cost an average of $100. You can image that the audience paid full attention to every piece played.

Same musician. Same instrument. Different setting. And an entirely different response.

It certainly made me think about the many shows I have done when people have walked absent-mindedly through a show. Chatting on the phone, or with a friend. Half looking at the work. At these very shows, there are artists showing work that is worthy of being in a museum....or who have work in a museum.

I have yet to see someone walking through a museum, chatting on their cell phone, and munching on popcorn. Why does one setting invoke respect and focus, and another half-hearted attention? I do not expect people at a craft show,...even a high caliber show....to be looking at the artists and their work with reverence. But, if you do come to see beauty, then why not see the beauty?

It also made me think about how the context in which we sell our work, creates a perception of value. If you sell your work on a bare table in a school gymnasium, don't expect people to value your creative genius. If you put mediocre pictures of your work on your website, don't expect to have anyone see what you see in the work. Sell your work at price that is too low to reflect the work that went into it, and people will look to see what is wrong with the work, to solve the apparent contradiction. Put thought and effort into the design of a piece, and neglect similar attention to the finishing, and don't be surprised that the design is not fully appreciated.

Attention. Attention to where and how is essential to success. Neglect that attention, and you will have an even harder challenge to get your audience to pay attention, appreciate...and buy...your work.

How Much Do I Need to Bring?

This was the question I desperately searched in vain to find an answer to as I began to prepare for my first show. When will I know if I have enough work? An artist I met with the other day posed that question to me.

The simple answer, bring as much work as you can. The problem with this answer is that it can lead to frantic late nights, making a few dozen more pairs of earrings, ten new pendants and a couple of bracelets for good measure.

You will always have the wrong inventory, or not enough. Someone will want something in a color that you are sold out of. Or a style that you only made a few of, and they sold better than expected. The reality is, that it is impossible to give an adequate answer to the question. It is fraught with all sorts of complications from the nature of the show, your price points, and maybe even the price of gas that week, or the weather.

Having said that, you can look at it another way. What is your goal in terms of sales for the show? How much do you hope to sell. Since it is rare to sell out every item that you have...it does happen, but not too often,...you could aim to have at least 1.5 to 2 x's the dollar amount of your goal in sales.

How do you set your goal for sales, you ask. How many hours is the show? What is the average sale that you make? What if you made one or two sales per hour? How much would that represent in dollars? Or what are your costs of doing a show, plus your time to do the show, plus a profit? Still stumped? How much can fit in or on your display and not look overly crowded, or overly sparse? Have that much and maybe another 30 to 50% to restock as a minimum.

Having more than these amounts is not problematic, but sometimes having no clue as to how much to make can hold people back from making that step. These answers are not perfect. They are just ways to think about how much work you might need. With experience, you will develop a sense of what is right. But the best way to learn is just that, through experience.

So, ...what are you waiting for?

What Does Survival Mean to You?

The current economy has put many small business people, including artrepreneurs, in a survivor frame of mind. Some businesses have shut down. Those of us who are still in business want to survive, with the hopes of thriving when times are good. The e-mail lists that keep members up to date with funding and grant opportunities have been reflecting the hard times. Less money is available to support the arts. News reports tell us that people are spending more on energy and food, and paychecks are flat. It is any surprise that people are spending less on art and craft?

So, what does survival mean to you?

Does it mean hunkering down, and not spending a dime unless your life depends upon it? Does it mean looking for ways to cut down on your expenses? Are you doing more shows in the hopes of generating more income? Taking a second, or heaven forbid, a third job?

On one discussion board there is a lot of discussion about spending money on advertising. Should I or shouldn't I types of discussions. There is also regular discussions about how bad business is right now.

I find myself going against the grain in many respects. I don't know that I have this figured out for anyone but myself.....and I am not even so sure I have it figured out for myself, but I will share with you some of my thinking, and strategy. Rather than copying exactly what I am doing, I hope that it just provides you another way to think about your own business, and what is working or not working for you. How can you make it through this time, and do even better in the future?

1. Shows. Do more shows and you will make more money. The thinking is that even if you are making less money than you used to at a show, you will make up the difference in volume.

This could be dangerous thinking. It is the same type of logic used when someone claims they covered their "booth fee" at a show. Anyone who does a show knows there are many other expenses related to doing a show beyond the booth fee. Mileage would be right near the top these days, even for a fairly local show. An hour commute each way may not make sense at $4.00 per gallon. But then you may have a few hundred dollars for three or four nights in a hotel, plus meals. Did you have to pay extra for electricity? What other expenses do you have when you do a show? Flowers for your booth? Time out of your studio? Or at the very least, the cost of the goods you sell at the show.

Does it make sense to do more shows, if the bottom line is already very thin? Are the shows you are adding going to be better than the ones you already have on your schedule, or will they just make the bottom line even more strained? In the end, more shows may just mean more wear and tear on you, your work, and your displays, without doing anything to increase the bottom line.

My own strategy this year was to eliminate retail shows. It just was not profitable enough over all for me to continue to pour more money into doing retail shows. I have not completely ruled them out, but for now, there are none on my schedule. In spite of this, my sales are up a few percent, and my bottom line is significantly better than a year ago. If you are doing retail shows, recognize this is a tough economic climate, and it will not take much for a marginally acceptable show to move into financial drain.

2. Advertising. One strategy that many small businesses have in tough times is to cut back on the extras....like advertising. Artists in particular it seems, struggle with advertising dollars. It is hard to spend money on advertising when you are not seeing the direct and immediate result of your expenditure. When you do a show, you can immediately see if the investment paid off.
Advertising is much more slippery.

First, you have an endless pool of choices as to where you will advertise. You need to figure out where the best fit for your dollar lies. If you have not thought about who your customer is, and how to best reach them, you could be throwing good money down the drain.

Secondly, advertising is expense that has to be considered an investment. I am using business school jargon here to make a point. Let's dissect it. Expenses are things that you spend money on to keep the business running. They include materials, rent, show fees, jury fees, etc. Investments are often made for a longer time horizon. It is the money we spend on capital equipment, or assets we purchase for the long term growth of the company. That camera to take better photos of your work. The spot welder to make you more efficient welding jump rings. The new kiln that is more energy efficient. Even though advertising is classified as an expense when it comes to our taxes, we really need to think of it as an investment in the long term growth of our business.

The money I have spent over the last two and a half years on advertising has not been spent without a lot of angst. But, it seems to be making a difference. The orders are trickling in. I am not swamped, but I have had a steady stream of orders since the beginning of the year. Orders from ACRE are planned for delivery right into the fall. I know I will have income to take me through the summer, and into the busier fall months.

What if I cut off the advertising to save money? I suspect I would also cut off the flow of orders. Out of sight and out of mind. And when the economy got better and I decided to spend on advertising again, I would be rebuilding. Looking at it another way, if more people are cutting back now, any advertising I do in this environment will have greater impact because there is lesser competition for the eyes of the buyers. I will be the first to tell you this is a hard spent dollar, but I have also seen the fruits of the steady investment in a targeted advertising program.

3. New Work. I have beat this drum before. If you are not continually offering a fresh take on your work, then you may find that your sales will suffer. This does not mean complete reinvention, unless you are so inspired, but rather continual innovation. In terms of the toothpaste model, what is new and improved with your work? Nothing seems to capture the imagination of buyers of art and craft as much as the new. Something they have not seen or imagined before. Keep them surprised, and you will be more likely to keep them as customers.

I have also found, nothing keeps me as excited about my work and the direction it is taking as that continual exploration of the new. If I am excited about my work, buyers will be more likely to connect with me and my work.

4. Cutting costs. Yes, cutting costs is important. Where can you spend less? Are there shows that you would be better off not doing? Is there a more efficient and cost effective way to put together a catalog? Is there a way to find multiple uses for one marketing tool? This year I have started using my postcards as the color images for my catalogs. It gives me a high quality image, a lower overall cost, and more flexibility.

Are you being as efficient as possible in your energy use? Are you running partial loads in a kiln, or curing? Is your equipment energy efficient? If not, how much would it cost to upgrade, versus how much you would save?

Are you taking advantage of bulk discounts? Sometimes when money is tight we hesitate to buy anymore of an item than we need right now? What if you bought enough for six months to a year? How much would you save in quantity discounts?

5. Are you out looking for new customers? Are you waiting for customers to come to you? Or, are you doing everything you can to try and find a few new customers?

When you are doing a show, are you making sure you are reaching out to your mailing list before the show to maximize your chance of success? Have you followed up on leads? How do you stay in touch with your current buyers if you sell wholesale or through galleries? There are many options; phone calls, postcards, newsletters, perhaps a combination of these.

If you have come up with some new work, what are you doing to publicize that work? Press releases, submitting images to magazines related to your media, entering contests. Right now if you have more time than money, it is important to get creative about how to create some "free advertising" for your work.

These are just a few things that I have been considering as I try and navigate these difficult times. I have heard a few say that the problems are because of people saying times are bad. If the media wasn't reporting so much bad news, things would not be so bad. I would call this ostrich thinking. Others are so focused on the bad news they can't think straight. Burying themselves in the reality of the bad news.

Once again, I find myself trying to carve a path somewhere up the middle; recognizing the challenges, but trying to optimize my chances for success as I make my way forward. It means holding two opposite points realities simultaneously; the economy is bad, and we can succeed. It is almost like patting your head, and rubbing your belly. Difficult, but with practice, we get better at it.

Here is wishing you success in spite of.... In honor of the Phoenix landing on Mars successfully, imagine your business as the phoenix rising from the ashes of a tattered economy. Going against the tide.

What Can You Do After A Bad Show?

Throw in the towel? Decide you were crazy to even think this could work?

Those are possibilities, but maybe not the best ones.

First, sit down with a pad of paper. Divide it into two columns. In one column, write down everything that went wrong. Everything you wished you could have a do over on. Everything that you felt 'in over your head' about. For instance, you did not cover your costs. The weather was horrible. You had work stolen. You heard people whispering about how high your prices were to their friend as they walked out of your booth. You were sick as a dog, and you had no choice but to do the show anyway. You forgot half your work, and your were hours from home. Your neighbor kept coming into your booth and complaining about everything. Your booth was in the worst spot in the world.

In the other column, write down everything that was positive about the show. The people who bought your work were in love with it. The weather was gorgeous. Your neighbor at the show was a gem. You made a connection for a possible new outlet for your work, or two other shows that might be a good fit for your work. You found out about a great display at a reasonable cost. Someone gave you a great idea for a new product to try and work on.

These are just a few of some of the good and bad things that have happened to me at shows....and a few fictional ones for kicks! No matter how bad a show has been, I have always walked away with a bit more knowledge or insight. Some of the insight came from what went wrong, and some was gained from a positive experience.

Without looking at the experience, good and bad, we are leaving the outcome of future shows to chance. The more we understand why something is working for us, or what needs to change, the more we can move towards the success we want.

If a show is bad, it is easy to blame the weather, the price of gas, or the promoter. But at every bad show I have had, other artists have done well. Actually, there was one show....I guess you could call it the exception that proves the rule, where no one did well. Many different things can contribute to bad sales at a show. A recent survey by the NAIA (National Association of Independent Artists) is a real Buyer's Beware wake up call for artists about trusting the reputation of a show before investigating further for yourself. Artists who had participated in the Coconut Grove show in Florida were surveyed and it was fascinating to see the effects of charging a gate fee, or inviting other "attractions" to a show can have on the artists' sales. The group also has a survey of the Artists' Landscape on the website, and it is a bleak one. Artists are aging and retiring. Collectors are no-shows at shows. They too are aging, and less interested in acquiring more "stuff".

Are we back to throwing in the towel? That might seem pretty attractive after reading either or both of these surveys.

I think rather than throw in the towel, it is important to look at your approach from the ground up, and start thinking about what is working, and what is not. Thus the list.

Look around at how people are buying luxury goods these days. After all, craft is a luxury good, isn't it? If the way you, your friends and associates, your neighbors, you or your spouses co-workers are indulging themselves, is at the mall, or on the internet, is it any wonder that sales are down at a craft show? If people are spending $25 in gas, $30 in admission fees, and another $15 to $20 on food at a show, is it any wonder that many in the middle class are feeling too pinched to spend another $50, or $250 to purchase a hand-crafted treasure? Is it any wonder that they might feel as if just looking is what is in their budget?

And yet, some people are selling. Some people are succeeding.

It is time for a critical eye on every aspect of what we do. Is our display the best it can be? Is our work priced right? Is this the right show for our work? Have we done anything new lately? Is there another, perhaps better, way to reach your customer? What have you done to add value to your work? This could be through building your reputation in your media, to packaging, to advertising, to adding context or story to your work.

Sitting in the corner of your booth, engrossed in a Sudoko puzzle is not the path to success. Go to a show as a customer. Walk the show and observe. Which booths draw you in? Why? Which artists make you want to buy from them? Why? Which booths do you walk right past without barely a glance? Why? Visit shops and galleries that carry handcrafted work and notice the same thing. What makes you enjoy the experience? Which work draws you in, and why? Is there any work that makes you say...if only they would do, "x", then that piece would be amazing! Now, think about your own work, your booth, your selling style. Where can you improve? What can you do differently? No matter how long you have been in business this type of exercise can be helpful to shake you out of your routine. It can help you see what else is drawing the eyeballs and dollars of your potential customers.

What if you do all that, and you still feel stuck? Then it might be time for outside help, paid consultant or artist friend. If your blindspots seem to be unmoveable, it might be worth the investment. But doing the work on your own first, will make any time spent with a consultant more effective. They will better be able to get a grasp on where you are struggling. The more efficiently you can help them get there with you, the faster they may help you find some solutions. And we all know, time is money.

The same old, same old, is not going to work.

What will you do differently at your next show? Or will you do shows anymore? Maybe your answer will be to find an entirely different route to reach your customers. We can't just wait out the bad economy. We have to work smarter. Things are changing, and what worked ten, twenty years ago, may not work for anyone anymore. It may be time to forge a new path.

Whose Job is it Anyway??

Negative reports began to surface within hours of the end of the ACRE show. There were not enough buyers. They were not placing orders. The promoter should have done more.

And yet, there are voices out there of people who did well. People who made connections and placed orders. What does one artist do that is different and works from another artist who struggles?

This eye-catching display belongs to Judy Belcher, shown here setting up and hamming it up. It could not be more simple, or more effective. Her palette is primarily black and white, with touches of color.....just like her booth. To reinforce the medium of polymer clay and the location of the show, she made some poker chips with her name and booth number for people to take with them. She was prepared with support material, and had a special offer for those who placed an order. She had strong work and a positive attitude. Her "be-back's" came back.

Another artist who did a terrific job of reinforcing a message with their work was Joyce Fritz. Joyce makes bugs that you want to touch and to own. Whimsical, beautiful, colorful bugs, with enough realism to amaze. And, she wears several of them at once, strategically placed, as a bug would land. On her shoulder, her back, here and there on her sweater or jacket. She had beetles that had beautiful landscape canework on the wings. And it was all displayed in cigar boxes on tables with green netting. In a simple way, she created a magical space in her ten by ten foot space. When someone placed an order, they got a little bug to wear on their badge. Advertising that traveled the show. More brilliance that worked.

These ladies did not spend time in the aisles griping about the lousy turnout. They were in their booth and ready to greet anyone who stopped by their booth. Their work was strong. It had fresh elements. Their displays worked to complement their work. And they knew they were their to sell, not to socialize or complain. That was for non-show hours, if at all.

There were many other artists who had positive experiences. I do not know those stories as well as these two. The economy is awful. Galleries are going out of business. Others are hanging on, but their business is down. It is effecting all of us. But, those who do more than complain, who work a bit harder and a bit smarter will come out of this period stronger and wiser. That is the side I am working to be on.

How about you? This is a year to survive. To hang on and bring your best game forward. Complaining has never gained anyone business. Complaining has never made work sell.

What do you need to be doing?

Advertise. Ads, postcards, e-newsletters, etc. Stay in the consciousness of your customers and potential customers. Over and over again, I heard people tell me about how they had seen me at other wholesale shows....which I did not attend. Why? They had seen my ads at about the same time period. Advertising can work. But it has to be sustained, and with strong images.

Innovate. Is your work stale? Is it time for some new designs?

Story/Theme. Does your work have a story or a theme? Have you shared that? Are you thinking at all about the kinds of things that are going on in the world right now, and how your work might tie into that? Environmental issues....is your work green? Price points for a soft economy....do you have work at a lower price point? Peace was a theme I saw frequently in artist's work.

Do you need help? with your booth, with your sales technique, with your marketing materials? If people are going to wait to place orders after the show, do you have materials to send them off with, or to reach out to them with after the show? If you don't know where to begin, find someone to help.

Back From Sin City

I got back last night from my trip to Las Vegas for the ACRE 2008 wholesale craft show. Once again, I find the preparation, and the show itself has left me worn out. But, with past experience in mind, I planned a bit of down time. It is unlikely that I will do no work. I just can't completely tear myself away, but a slower, gentler schedule, and a few diversions are just what I need right now.

The show was a good one. I was happy with my display, and with the sales I had, and connections I made. A show presents many opportunities beyond the sales of product, and I was able to take advantage of a few of those. I had a few new things to think about, and will share some of those in future posts.

Since a picture is worth a thousand words, I'll share a few pictures, and even a video.....

Lindly Haunani, me, Sandra McCaw, and Meisha Barbee in the National Polymer Clay booth. These woman did a fantastic job, coordinating their displays, and preparing themselves for the show. Each one did a terrific job of representing the possibilities of the medium. And it appears they are willing to "pay it forward"....helping the next group of polymer clay artists to take this step.

This is my booth. I was happy with how it worked out. It was easy to ship, and set up, and worked well. My sister-in-law, Linda Ruel Flynn, was there for a few days, and she was a tremendous help to me in the set-up and display. She has been the interim director of the Fiber Art Center in Amherst, MA, as well as the past retail gallery manager. With this experience as a buyer, and in setting up retail displays, she helped me edit down, and tweak the display so that it worked well, and looked good. She ended up helping a few other artists with their displays. The woman has a real talent for seeing the possibilities in the work, and helping people put their best foot forward.

Here you can see a little better view of one of the "tables". I used two EZ pedestals as the base for the tables, and a sheet of masonite, with a "brushed steel" contact paper adhered to the surface, for the top. The earring rack in this display was made from two rails which are used to hang posters, the clips which go inside the rails, ball chain, duct tape, two small slats of wood with some more contact paper, and polymer clay for the bases. I liked how the display worked to show off the earrings, and how the ball chains help the earrings stay in place. I will have to play with this idea a bit more.

Finally, a bit of the fountain show at the Bellagio on the strip....

Shipping A Booth, and other Weighty Matters

Another obstacle that I had to overcome to move my business forward was figuring out how to ship a booth, or components of it, in order to do a show thousands of miles away. I knew I was ready to do a wholesale show, or as ready as I would ever be, but I was not sure I was ready to tackle shipping my stuff cross country.

When you are driving to a show, if you have a big enough vehicle, you can bring just about whatever you want to set up your booth. If you have to haul your stuff any distance from your car or van to set-up, then you might consider weight and volume, but otherwise, convenience, and having the best display possible is what overrides the weight and volume concerns.

But, if you have to ship, weight and volume translates quickly into cost. The cost of shipping is directly correlated to these two factors. And, at some shows there is also drayage charges. Drayage is a weight based charge that is applied at some facilities for transport of your materials from the loading dock to your booth. Both ways. This can add up fast, if your work and/or are heavy, it can easily add up to thousands of dollars. Fortunately, the ACRE show includes the drayage cost in the booth fee. But, since i will I have to ship my paraphenelia from Massachusetts to Las Vegas, weight matters.

Last year, I partially dodged the issue. I shipped some things, and rented others. But this year, I wanted to cross the line, and rent only the bare minimum. A small table for writing orders, and to stash things under, crossbars, and added padding under the standard carpet that comes with the booth. The padding is an indulgence, but sometimes you just have to take care of yourself, and the visitors to your booth! So my rental charges this year are about a third to a quarter of what I spent last year, and I will have extra electricity.

Part of the money I saved went to purchasing a shipping crate. I was fortunate enough to have purchased two fiber crates, that are often used to ship those pop-up style booths, for a song. But they are limited in what can fit inside them. I used one of them to package up my lights, banners and a few odds and ends. I still needed something to pack my pedestals into. The pedestals are going to be the foundation of my booth. They are 42 inches tall, and 24 inches wide when flat, so I needed a container to accommodate them. In addition, the "table" tops that I will lay across the pedestals are 48 inches long. Knowing these dimensions, I hit the web.

This is what I ended up with. It is hard to tell from the picture, but it has wheels, and a handle built in. Straps are attached to securely close the case. And the lid, telescopes on the base. So it can be 6" high, or 10 inches high, depending upon what and how much you put in the case.

After the cases were packed, I added some plastic strapping cord to secure the crates for their long distance travel.

Each container was less than 150 pounds, which meant I could ship them UPS ground. And I could track on line to see the safe arrival of my containers to their intended destination.

Most shows have an advance warehouse. A place where artists can ship their booth and other materials ahead of time. There is usually a deadline for arrival of your goods so that they can be staged at the appropriate time for transportation to the venue. And if all goes well, when you arrive at your booth, all your containers are sitting there waiting for you. But, you need to plan backwards from that deadline to make sure everything is out the door in time to make the trip.

It is a good idea to print out your shipping labels for the return trip at home and bring them with you. It will make that end of the process go much more smoothly. You also want to make certain to have all the paperwork for the shipment to the venue. You never know....

If you ship your materials by freight, there are a few other things to consider. First, a pallet or other way to be able to move your materials with a fork lift is important. The weight of the pallet, becomes a part of the cost of shipping. If you work from home, and thus would ship from home, you would need to pay extra for the lift truck. This is a truck that has a platform on the back that can raise and lower to move your stuff off the ground and up onto the truck.

You will also need a bill of lading. The form will come from the shipper, but it will list what you have in the crates or cartons. You do not need to go into a great deal of detail. "Trade show booth" could be sufficient.

I will show you more of the lightweight, transportable booth I came up with in a future post. So, stay tuned.

Making Light Work of It

It is finally time for me to finish up the discussion I began about lighting. I began writing about how important it is to have good lighting to show off your work to best advantage. Ambient light is often inadequate, and sometimes off-color.

So, now that you know you want lights, where do you begin?

Clip on lights are an option. Jennifer posted a link to her booth with the clip on lights in the comments of my last post. You can see how she had a light fixture for approximately every three feet or so of wall width. If your work is displayed on the walls or very close to the walls, this may be a great solution. But, what if you work is in the middle of the booth somewhere, and not on a fixture that can easily have a clip on light attached? Then what?

Track lights are probably the most common solution. And they are not that complicated to do.

There are a few basic components:

1. The track(s).
2. The light fixtures which are inserted into the track.
3. Bulbs for the light fixtures.
4. A cord attachment for the track.
5. A crossbar to attach the lights to.
6. Something to hold the track onto the crossbar.
7. A power strip or two.

If you can build something with Legos or Tinkertoys you can put up a track light. It really is that simple.

There are lots of places to find track lighting components. Stores like Home Depot or Lowe's, or on-line stores like USA lights. I ordered tracks from Home Depot on-line recently, and it was easy, and got just what I wanted.

So, what do you need to consider when you start looking at the many options that are out there?

1. Color. Black is a good choice. White electrical components can sometimes yellow over time, and black will tend to "disappear."

2. Rotation. How far can the lights rotate or angle so that you can position them just the way you want? I had lights similar to the ones shown in the USA Lights link above, and I found I could only rotate the lights about 200 degrees, and there was very little ability to adjust the angle of the light. The lights I recently purchased have nearly 360 degree rotation, plus I can adjust the angle of the light.

3. Bulbs. You want to choose lights that have a shielded halogen bulb. This will reduce the fire hazard potential of the lights, and will also reduce any problems you might have with certain venues that are very strict about lights that can be used. Also look at the wattage. Most are 50 or 75 watts. Make sure and purchase a few more than you need. You never know when a bulb might burn out or otherwise fail.

4. Track. How much track? The limitation of how many lights you can put on a track are physical more than electrical. But you also want to spread the lights out over enough space that you can adequately light the whole space. At least two, probably three or four tracks are needed.

5. Plug. Purchasing track lighting means you need to get all the components separately. Some people will wire in the track directly in line, but for a craft show, you want to be able to plug it in. So you need to purchase a plug for the track. You can also purchase elements that will allow you to join tracks, and use one plug for two or three tracks.

Before the show, and preferably not the night before, you want to practice putting together the lights and track,....a dry run. First, unpack the track. You may need to remove an endcap on the track with a screw driver so that you can then insert the connector for the plug. This is usually tightened in place with a screwdriver.

Unpack the light fixtures, and determine how to insert to bulbs. Keep the packaging for the light fixtures. It is a good way to transport them to and from the show. The lights general go on the track with a push and a twist. You will usually get a sense of whether or not it has engaged properly. Put several lights on the track, and then plug in the track to your power strip, and turn on the power.

Did the lights go on? If so cheer and pat yourself on the back. You can do this!!

If not, don't panic. I usually find this means that the light was not properly inserted into the track. Often turning off the power, removing the light or lights that fail to light, and re-inserting them into the track is all it takes to fix the problem. But, I will admit that a few times it has taken several tries before I achieve success.

Now, you can remove each light fixture, with the light bulb in place, and return it to the package I suggested you save.

How is the track attached to a crossbar? There are several options. One is the plastic zip ties that are strong, inexpensive, and relative easy to use. Another is velcro strips....hooks on one side, and fuzz on the other. Easy on and off, and re-usable. You can find them at the big box stores, or office supply stores where they have things to control the mass of wires coming off the computer or home entertainment centers.

Not so bad, huh? I hope if you are considering doing a show, and issues like lighting are holding you back, this little primer will help. It really is doable. After a few shows you will be wondering what all the anxiety was about.

Shining a Light on Things

If you plan to do shows, retail or wholesale, lighting is something that you will have to figure out. It was the also one of the parts of doing shows that scared the heck out of me. Electricity has this affect on me. Watts, volts, amps....my head starts spinning. This big dark cloud settles in and I find ten other reasons why I don't want to go there.

But, I did want to go there. I wanted to do shows, specifically juried shows, so I was going to have to figure it out. After several years of doing shows, I think I have finally reached a degree of comfort with this area that had previously seemed elusive. So, let me share what I have learned, and maybe help alleviate any anxieties you may have had around this area, and maybe shorten your learning curve.

Let's start with why. Why do you need lights? Because you want your work to be seen in the best light possible (Pun fully intended!). Without lighting, your work can be almost invisible. I was next to an artist at a small show this past December who had part of her work hung up on panels, with lights illuminating the panels. The rest of the work was sitting out on a table. The ambient light in the room was limited at best. As a result, the work on the table was hard to see. The color, the detail, were all lost in the dim light. It had to have had an affect on her sales. The only work that people were looking at was the work on the panels. It was terrific that she was selling some of this work, but what potential sales did she miss by having half of her work in the dark?

How much light do you need? Let's talk about the 10 ft by 10 ft booth, standard at most juried shows. Some shows will include electricity with your booth fee. Often this is about 300 to 500 watts. It is not enough. Trust me. I have tried to use that much in the past. It is not enough. 1000 watts is a better level of lighting. Most track light fixtures are 50 watts. So this means 20 fixtures. Yes, twenty.

I have finally accepted that this is what I need to do. I have done shows with 300 to 500 watts, and have been perpetually frustrated by my inability to adequately light the work. Some of the work is well lit, and other pieces are sitting in shadow. Not the presentation that I want. If you have dark walls, you definitely will need lots of light. Black walls are popular for colorful work, because it makes the work seem to "Pop!" But it also absorbs a lot of the light in the booth.

What kind of light? Ideally you want to use halogen lights. They have a full spectrum quality. You want the colors of your work to be as true to what they would appear in natural light as possible.

What kinds of fixtures? Track lights are the most common kinds of light used in a craft booth. They give you lots of flexibility as far as placement, and direction. But they have potential pitfalls as well. It is important to be sure that lights are not pointing at your customers faces, blinding them, or that they are not hung too low so that tall visitors to your booth risk scalp burns. Many fire codes also require that the track be at least eight feet off the ground.

On a recent webcast that was available to ACRE show participants, Bruce Baker touched on this topic. One of the booths he showed caught my eye. It had several crossbars in the booth space. One across the front, and then one from front to back, and another from side to side. Lights were arrayed along these central crossbars aimed at the work in the booth. Baker recommends that lights be placed above where the visitors to your booth will stand. If the lights are hung on the front crossbar, pointing into the booth space, as soon as the customers walk into your booth, they will block the path of the light onto your work. And as they turn around to leave the booth, they get a blast of bright light in their eyes. Not a good parting experience.

There are other options of course. Some jewelry cases come with lights. Under shelf lights are great for work that is displayed on nearly any type of shelving. But even with these types of lights, you will want to have some overhead light.

So, where do you begin? There are companies that specialize in tradeshow lighting. Look through Crafts Report, and you will see plenty of advertisements. Or go to the local Home Depot or Lowe's. You will find track, lights, cords, and all the components you need to install your lights.

In my next post I will show you what some of those components look like and how you can hang them, for those of you who are like I was a few years ago....in the dark!

Margaux Lange, Whimsy and brains

I am a big fan of Margaux Lange's work. She uses traditional metalsmithing techniques, with new materials to create fresh and vibrant jewelry with Barbie doll parts as the focal point. I found Margaux's work shortly after a neighbor's outrage over what her daughter and my daughter's had done to Barbie dolls. Let's just say, it started with haircuts. This was the perfect antidote to my neighbor's outrage at the plastic surgery that had taken place. What Margaus is doing with Barbie, is artistry. But, it also has the whimsy appropriate to the material.

Margaux has a blog that I visit from time to time, and I just caught up this morning. She has a terrific post on the New Wave artists at ACC. We had some discussion of these artists at the Synergy conference occurring upstairs, excited by the possibilities this represented for new media such as polymer clay. But I for one, was not aware of how much controversy and confusion the presense of these artists was generating on the floor, among both the new and the established artists.

I think it is instructive of the turmoil of transistion. And if you think that the craft business is not in transistion, think again. As I posted last night, things are in motion, and if you don't move along with it, you will be left behind.

Artists like Margaux are embracing, and making sites like Etsy work. She references an indie retail show that was a complete bust for her. In all of this she is not sure where she fits as a craft artist at times. But, frankly, I think many of us feel that way these days. How much of the new do we want to try out? And how much of the traditional ways of being in business work just fine?

I don't think there is any one answer. I do think we have to continual monitor, measure and experiment. Trying out the new, and checking in regularly to see of the old is still working as well as it used to. Promoters and galleries are in a similar position. If they keep doing what they did ten years ago, they will find themselves in a fight for survival.

And we need communication. Without it there is distrust and animosity. That is clear from Margaux's post. It will not be resolved quickly and easily, but a peace will be reached eventually, most likely from a cross-pollination of the old and new.

I hear people sometimes speak dismissively of Etsy as a place where there is too many artists with low price and poor workmanship. That is there. But there is also work that is beautifully crafted, and not the least bit inexpensive. It hasn't been an outlet that works for me, but I have found success with wholesalecrafts.com, a site that is has it's share of derision. Both sites require more time and money spent than just putting items up on a page to make them work to best advantage. But both offer ways to maximize the chance to succeed. Showcases and Treasuries on Etsy. Featured items and co-op ads with wholesalecrafts.com.

It is up to us to try and keep from feeling personally threatened by all the change that is going on around us. Change represents energy, and energy is what craft needs to stay alive and vital. When you feel yourself dismissing or criticizing some new faction in the world of craft, stop and ask yourself a few questions.

"Why is it bad?"

"How much do you really know about it?"

"Is there anyone involved whose work you respect?"

"What are they finding that you have not seen?"

The more conflict there is in the transistion, from either direction, the longer and more painful it will be. The more open exchange there is, the more chance there is for growth by all parties.

Things will always change. Are you open to change?

Maybe, This Stuff Works...

Just about five years ago, I started down the path of playing with polymer clay, and not long after, learning everything I could about the business of being in craft. You might think that someone with an MBA, would not need to learn much. But I have never in my life presumed expertise. And, after working in so many industries in the past, I knew I would have to learn what made the business of craft tick.

What have I learned in the last five years? LOTS! Some things the hard way, some the traditional way. But I certainly know more now than I did then. I'll try to summarize a few of those lessons here,

1. Doing matters. In the end, without action, it is nothing. Talk truly is cheap. Acting takes guts and often funds. But without taking action of some sort, nothing happens. And even when things go wrong....there is always an opportunity to learn, or to gain experience. Nothing has ever been a complete waste of my time. A few things came close. But I never came close to making those mistakes again.

2. The most successful are those who are usually just plugging away. You seldom see them complaining about much. Not because they are successful, and have nothing to complain about. No. It seems to me, that more often it is because they see little is gained from the complaint.

Complaining about ignorant or irritating customers, wholesale or retail, seldom does much except allow you to spend more time in a time drain. Complaining about artists who rip off others seldom is a well-spring for creativity. Complaining about how lousy the market is does not help you find new customers.

The successful are not Pollyannas. If anything they are hyper-realists. They realize that the only thing that is going to get them closer to their goals, whatever they might be is themselves. And no amount of complaining ever moved anyone forward. Usually it keeps them firmly planted in place as the rest of the world moves forward.

3. Perfectionism can be a crutch. It can be a way to avoid trying. It can be an excuse for item number 1. Good enough really is good enough. Don't get me wrong, craftsmanship matters. But, there is a line. Cross that line and you will never have anything leave your studio, and you will never be able re-coupe your investment in time if you try to sell your work.

4. Craftsmanship develops best in volume. Make something over and over and over again, and you will learn it and understand it in ways that are not possible in the first, the fifth, or possibly even the 100th piece.

5. Pricing never ever gets easy. You just reach a point of peace. You know you are covering your costs. You know your work will sell at a price. You are not selling it faster than you can make it. An equilibrium of sorts is reached, but it never maintains itself indefinitely.

6. Packaging matters. The best work in the world is enhanced with good marketing support materials. Some sort of packaging that tells your story or presents the work to best advantage will nearly always help sell the work a bit better than without it.

7. Understanding your customer is essential. It will help you answer so many other questions about how to bring your product to market. What shows to do? Pricing. Packaging. Colors. Designs. Where to advertise or publicize.

8. Even in a good market some will fail. Likewise in a lousy market some will succeed. Our success is more often influenced by our own actions than by those of the general climate. Those things matter, but they are not the only factor.

9. The world keeps moving, and so should you. New designs. New markets. New ways of getting your work out into the market. The internet is going to play an integral role as we move forward. If you are reading this you probably already sense this, if not know it and live it. Stay still and you will be left behind.

10. Going it alone is lonely. I love time on my own. But I can't say I would ever have learned as much, or gone as far as I have so far without the company of others.....virtually or in person. That new person at the show that you have been doing for years may know just the web guru that you need. The craftsperson who seems to be able to set up his booth with his eyes closed, because he probably can....will probably have some good advice if you are willing to listen. Sharing your dreams with others may mean that when they see the opportunity that is perfect for you, you will find out. Be a friend and make a friend. Your business will benefit, and so will you.

The title? It seems as if I should be in a lull right now. The economy is faltering. I had a large order with a catalog company cancelled. And yet, I am working like crazy. Orders are coming in. Opportunities dropping in my lap.

Why? Luck, perhaps. But maybe because I am working to stay focused on these essentials. I don't know. But I do know that the more I do that is alignment with the things I profess here, the more success comes my way. I get it wrong, like anyone. But I allow myself the error, and move forward. I hope that you can do the same with your business, and that it brings you the same satisfaction and success. I am looking forward to the lessons that the next five years will bring.

The 1000 Fan Model....modified

I found out about the idea of 1000 Fans through the Polymer Clay Notes blog. She recently pointed her readers to The Technium blog of Kevin Kelly where he outlines the 1000 Fan approach to building a business.

What he points out, and I believe can be easily missed, is that the 1000 number is a bit arbitrary. It is a number that represents a goal or target. A number that can be imagined, counted, created. It is a concrete representation of what you want to work towards to build a business that allows you to make a living.

So how many True Fans do you need to make a living?? That depends to some degree upon your business model. How do you sell your work? Retail or wholesale? Either way, what is your average sale? About what proportion of your sales come from repeat customers? Finally, what level of income do you want to acheive?

Based on looking at this information, I now have a target goal for a total number of wholesale accounts. 100. (0r more!) What I like about this is it establishes a measurable goal. Right now, I have 40+ active accounts. So, if I can get to 70 to 80 active accounts by the end of this year, I will be moving a good way towards that goal.

I like the idea of having a number of accounts as a target. I have been dissatisfied with measuring my business solely by sales, or by profitability. Those numbers matter, don't get me wrong. But, in my head, target a specific number of new, active accounts feels more viable than aiming for a growth in sales dollars. And in today's economic decline, getting those accounts lined up now, could potentially postition me well for when things turn around. And they will turn around. They always do.

This model of a number of fans can work for retail as well as wholesale. It can work if you teach to generate income. How many loyal students do you want to have? How many collectors? The bottom line is to convert your goal for making a living with your work into a target number. And then get busy, and work towards that target!

Asking

Can you ask for what you need or want? I don’t mean ask in the hypothetical sense, but really ask.
When I met my husband, it was love at first sight. We hit it off immediately. Within six weeks, he made a hypothetical proposal. Not the most romantic proposition, but he clearly wanted to know where he stood before he took the risk of asking for real. “Hypothetically” he asked, ”if I was to ask you to marry me, what do you think you would say?” Finding out what someone is likely to say before you ask the question makes it much easier to decide if you want to take the plunge for real. If the answer looks iffy, it is safer to avoid asking for real.
So what does this have to do with being an Artrepreneur? Well, let’s say you get people to your booth at a show. Or you get a gallery interested in your work. Can you close the sale? Can you ask for the order, or, do they walk away saying they have to think about it? And as they walk away, are you left saying, “What did I do wrong? Why didn’t they place the order?”
First, ask this. Did I ask for the sale?
Or, did I find out what the obstacles are to placing a sale? Did I ask, “What else do you need to know about my work to make a decision? Is there any questions I can clear up for you?”
At this moment, you are asking them to move from being on the fence, to making a choice. You are giving them a chance to voice their objections, if they have any. They may have a few issues that remain in their head. But, given the chance to verbalize these objections, they may, given a bit more space to talk, continue to talk themselves right out of their objections, and right into an order. If they had been able to leave the booth first, to think about it, the next thing they think about might be the work they are considering by another artist. You and your work are out of sight, out of mind.
The response might be, “I just want to be able to think about it a bit more. I think I have all the information I need”. At this point, you could thank them, and ask them to be sure to contact you if they have any questions.
Or, is it possible to create a sense of urgency? “This product line has been doing very well. I just introduced it, and already it is selling very well. As I receive more orders, my lead times will get longer. I know you are excited about this work, and I would hate to see you have to wait an excessive amount of time to get it for yourself.” Then wait. They may still move on. But, this new piece of information might just be the thing that helps them make a decision.
Asking for the sale is difficult. It is like asking for a date, or for another’s hand in marriage. We are risking rejection. So, we need to feel a degree of confidence to do that easily and comfortably. If we feel unsure about our work, our prices, our ability to satisfy the expectations of a potential customer, those words may not be able to comfortably fall out of our mouth. We rationalize our hesitancy by saying we don’t want to be pushy.
If you read through these scenarios, and say to yourself, “I couldn’t do that.” Maybe, you need to stop and ask why? Why not? Is there something about your work that feels uncertain? What is it? And, what can you do about it? How can you feel more confident about the work that you are putting out there so that you can comfortably have this dialogue with a potential customer? Answering this question may be what is needed to help eliminate the roadblock to asking for the order.
If you still feel like you can’t do it, ask yourself this, “Could I sell someone else’s work?” Think of another artist whose work you admire. Could you sell that work? Could you comfortably tell someone what is wonderful and unique about their work, and why they would want to own a piece for themselves, or place an order for their gallery? If you can, then your ability to sell is not where the problem lies. You need to fall in love with your own work. You need to believe that someone would want own your work, or carry it in a gallery. When you get to that point, these scenarios will naturally happen.
If you believe in your work. If you know your prices are fair and reasonable. If you know the customer loves the work. If all of these things are true, there is no reason in the world that you should not ask for the sale. You can deliver a value to the customer in return for the money they are spending. But, if you do not ask, do not assume that having good work is enough. Sometimes it is, but sometimes, people want you to ask!

Tedium Central

I am doing a task I have known I should do for a long time, but never quite got around to it. I am building a mailing list of galleries. With the ACRE show coming up, I want to do what I can to maximize my success at the show....and the return on the money spent doing the show!

When I first starting selling at retail shows, I began my mailing list with the names of friends and acquaintances. It is the classic place to begin when you are starting from scratch. Over time, I added to that list with people who would sign my mailing list book at a show, or buy work from me at a show. Over time I have built up a decent size list.

Putting together a mailing list for a wholesale show is in some ways easier, and in some ways more tedious. With the internet, there is a wealth of information at our fingertips. But it means spending time sorting through all that information to find the shops and galleries that appear to be the best fit for your work.

How do you begin?? If you have done some wholesale sales, you have a start. If you have had any one ask you if you sell wholesale, they go on the list. Over the last several years, this list has grown to just over 100 entries. I have used this list in the past for an e-mail newsletter, and for my postcard mailing before ACRE last year.

But, the economy is tougher now. Now is not the time to put off doing the things we know we need to do to grow our business. So, I have spent the last two days adding to that list, and it now approaches 300 entries. How?

1. Magazines. American Style. Crafts Report. Looking at ads and gallery profiles. Sometimes it is an ad for an artist's work that has a list of several galleries that carry their work. If the work is similar enough in style (contemporary vs. rustic, colorful, etc.) than I add those galleries or shops to my list.

2. Internet. This is a multi-webbed approach, much like the internet itself. I might start searching for a gallery with Google, to find a street address, and then see several artists whose names come up in the search, because they have their work in that gallery. If I recognize an artist as someone whose work I think would complement my own, I go to their website and see if they have a list of shops and galleries. This can be a gold mine of information.

The other approach on-line is to go to artist's websites directly and see where they list to purchase their work. Inevitably, I find myself bouncing between these approaches. I may get a list of galleries from one site, but then I need to fill in information about the mailing addresses, and it is back to Google. Before long, I am on another artist's website.

There is no guarantee that the gallery or shop is still in business, or that you can find a good address. There is no guarantee that they will be going to the ACRE show.

But.....it is a numbers game. The more people I get my work in front of, the more opportunities I will have to sell my work. If you want to think of it the other way, you have to get a certain number of rejections to get to the "yes!" This task could be building the number of "no's" to help find the "yes!"es.

Sometimes, when the economy is strong, and your work is in demand, you can coast along without doing all those things you know you should do, but never get around to. When the economy is slow, the most savvy will survive. And the savvy are working every opportunity they can to increase their chances of success.

The way I see it, I could spend this time whining about how crappy the economy is, and how so few people are buying craft......or.......I can get busy and find those people that are. This is not likely to be a stellar year for business overall. But even in the worst of times, some thrive. Sometimes it is because they are offering a product or service that is in greater demand when times are tough. Or, sometimes, it is because they put in that extra effort. They work to go against the flow, and build a strong business in spite of the economy. When the economy turns around, they already have momentum in their favor, and will likely be positioned for greater growth. That is where I want to position myself.

So I sit here at the computer. Googling. Sorting. Searching.

In the end, it will likely be time well spent.

A New Focus

I have made a decision to focus on selling wholesale this year. My decision has come from several vantage points. First, I have seen terrific growth in this area of my business, and I want to be able to continue that growth. Second, retail shows have been more problematic for me.

Retail shows are a terrific way to get a first hand reaction to your work. This can be misleading and confusing though. I have had shows where the work flew out of my booth, and another show with the same work was dismal. Which information was correct? Both, most likely. Demographics, flucuations in the economy, weather, and many other factors can effect the outcome of a show. My energy level, or my display can also have an effect.

And retail shows are time consuming. Before the show I typically will do a mailing. This means updating my mailing list, printing out labels, and stamping postcards. A day to pack things up and organize. A day to travel and set up. Three days at a show, tearing down and traveling home on that last day. Crash and burn for at least a day. A week out of the studio. If the show was great, this was a week well spent. If not, it was a week away from family, and out of the studio. Then there are sales taxes to be paid, credit card sales to be entered, unloading the van, and putting everything away again. And more names to add to the mailing list.

In the past, I have felt unable to really think through, and follow through on developing a consistent and cohesive marketing plan for my work. It has been catch as catch can. Part of why I want to try focusing just on wholesale this year is because I want to be able to give enough attention to marketing that it can be more effective, and opportunities are not dropped or lost for lack of follow through.

Here is part of what I want to do;

1. Mailings. I still will do postcard mailings, but now they will be to galleries, and planned to promote some sort of special offer. A call to action, if you will. I also plan to mail out my new catalog to anyone who as ordered from me in the past or has asked for information. It will build on the past interest, and perhaps generate some sales. Too often in the past, I would send out a catalog after an inquiry, but leave it at that. I will make use of the mailing list of galleries I have built up over the last three years.

2. Newsletters. This is a step I have already begun. I sent out my first e-newsletter this week using Mail Chimp. They have a 30 day free trial, and flexible pricing plan that works for my volume and frequency. And it works! I had an order within 12 hours of my first mailing. I plan to send one out every other month, alternating with the postcard mailing. Not all galleries even use e-mail. But for those that do, it is a great way to stay in touch and let them know what is new with your work. These newsletter services would work well for retail as well. The nice thing about services such as Mail Chimp, or Constant Contact, is that they tell you how many people opened your email. How many times, and which links people clicked on. They clean up the list automatically, removing bounced e-mails. You could do this your self with a standard e-mail, but the background information is helpful to gauge the success of your newsletter.

3. Advertising. One of the tenets of effective advertising is repetition. Some people will contact you with the first advertisement. But others will have to see your ad repeated times before they take action. In the last year, I focused my advertising dollars on the Buyer's Guide put out by Wholesalecrafts.com. It is open to anyone who is on their site, and it goes out four times a year. I had planned to only do two ads last year, but ended up going with four. I also increased the size of my ad. The results were well worth the expense.

This year I plan to run ads in at least one, maybe two periodicals on an on-going basis. I am starting with Niche magazine, put out by the Rosen Group, and sent to galleries. I can run a co-op ad, again through Wholesalecrafts.com, and gain broader exposure for my work.

What I have learned in the last year of running the ads in the Buyer's Guide is that I get a different clientele contacting me as a result of these ads. I get phone calls from galleries who do not visit the Wholesalecrafts.com website, and do not want to place an order on-line. They prefer to talk to me on the phone. Perhaps have a catalog to peruse at their leisure. Some customers love the flexibility of ordering on-line, but others prefer a different approach. Being able to respond to all the various styles of your clientele is important.

4. Wholesale show(s). I will be doing the ACRE show in Las Vegas again this year. This show gave me exposure to buyers who like to come and see and touch the work in person before placing an order. Doing the show last year took me out of my comfort zone, but was well worth every minute of anxiety.

My approach to this is pretty much like it has been all along with my business. It is a trial. An experiment. I will allow myself this year of focus and see what happens. I may even do a retail show or two this year. But maybe not. I like the idea of traveling only once this year to do the wholesale show. I like the idea of taking the money I would have spent on retail shows this year, and using it to boost my advertising, and exposure.

I will let you know how this experiment works out. I am sure I will have more adjustments to make next year, but I feel like I have a map for the coming year. Each time we try something new, we learn new things. We may learn that it doesn't work for us, but we know it with certainty rather than fear.

"Time, Time, Time....is on My Mind..."

"Yeess, it is."


If there is one commodity I could use more of, it would be time. And that scarcity of time is what is driving some of my decisions and choices in the coming year. It is easy to lose track of time when I get engrossed in my work in the studio. Or to have a relatively simple task take much longer than expected for any number of reasons,....interruptions, distractions, equipment or material problems,...you name it.


In many ways, time is one of the main ingredients in our work. How we value that time depends upon the skills and experience we bring along. But ultimately, for many artists, (excluding those working with metals these days!), the cost of materials can be insignificant compared to the time put into creating their work. Yet, it can also be the most undervalued component by the new artist starting out.


Several things got me thinking about this issue of time. There was a great post I found through Alyson Stanfield's ArtBiz blog about tracking time spent in the studio. I have tracked how much time it takes me to do a particular task, but I have not tracked my overall studio time quite the way it is described by Lisa Call. She has been writing down her hours in the studio each day, in her sketchbook. I love the sketchbook idea, but I am afraid I would fall into the judgement and evaluation of the numbers if I had them. Knowing this about myself might be why I was particularly struck by her goal to not judge the hours she had spent (or not spent) in the studio. But instead, her goal was acceptance that the hours spent there were the right amount for her.

Too often we are looking externally for cues and measurement comparisons. How much time do they spend in the studio? How many hours? Days? How many shows? The probem with these comparisons is that they are always missing essential information. No one else is where we are with our work, or lives. We all bring different experience, and baggage, to the party. And we all have different styles of work. Trying to adapt yourself to another person's work style or schedule so that you can perhaps achieve what they have done will only end in frustration.

Several other discussions in on-line forums have caught my attention when they touch this issue of time. One was about how people track time to price their work. One artist had a price per minute that she factored in for labor. Another had calculated how many pieces she could produce during a week. By adding together a weekly overhead cost, her materials, and her "weekly salary", she could then calculate a wholesale price without worrying about her hourly rate, or the exact number of hours it took her to produce an individual piece of work. One person was more exacting, and another more global in their calculations. Both had figured out what worked for them.

Another discussion centered on retailers' concerns about artists undercutting them on websites or at retail shows. This has become more and more of an issue as there are more and more direct outlets available to artists to sell their work. Without getting into the pricing discussion, a comment made in the thread resonated for me. I will try to paraphrase the comments. One retailer commented that many artists she represented had stopped doing retail shows after they did the math and saw the true cost of the retail show...beyond the booth fee, ...and found that it did not pay. An artist chimed in with her experience that reinforced this observation. She had found that she made more money, and had more time at home, and in her studio when she went to two wholesale shows a year, supplemented with on-line wholesale sales.

This reflects where I am coming to as I look at my goals for the coming year. Sales at retail shows, with just a few exceptions, have been dismal for me this year. I am not ready to write off retail entirely, but I am backing away from it. I like the idea of making work to fill an order. I like the idea of more time at home, and less of my time spent selling. I want to spend my time in the way that is most efficient and enjoyable for me. Too often this year I would spend three or four days away at a show while I had wholesale orders waiting to be filled. This just added to the frustration of a disappointing show.

As I make this choice to focus even more on wholesale, I know that there are many others out there who are leery of wholesaling their work. We all need to look and find the right combination for our time, our temperament, and our work. The balance or approach that works for me might feel completely out of balance for you. But maybe, like me, analyzing the mix in the context of time might just be what you need to help make a decision that feels right.

Enough time out of the studio.....it is time for me to get back to work!

I Stole a Pair of Kathleen Dustin Earrings

Got your attention, huh? I didn't literally steal them of course. But it felt like it. Family Services of Greater Boston is the organization who puts on the Crafts at the Castle show each year. It is a fantastic show....gorgeous work by extremely talented artists. And like many non-profits who run craft shows, they look to the artists to donate items that they can auction off to generate more income for their organization. Kathleen Dustin donated a pair of earrings to their auction. And I won them in the auction for only $50. These are a pair of her new pod earrings that would normally retail for $150. A steal!

So here is the thing....what are the consequences of these auctions? Beyond some great bargains. Are they really a benefit to the artists or to the organization? If you go and look you will see plenty of beautiful work.....all going for substantial discounts to the retail value of the items. A gorgeous Natalie Blake vase, I wouldn't mind owning, went for under $300, versus a retail price of $425. A lovely necklace of sterling and polymer clay by Mary Filpek and Lou Ann Townsend did not even get a bid. A sublime scarf by Jeung-Hwa, knitted, felted and hand-dyed, went for less than half it's retail price in spite of a bidding war, which I watched from the sidelines, debating whether I should jump in. I could go on,.....a basket from JoAnne Russo, a museum quality piece. NO bids.

What is going on? For one thing, not enough people who might be interested in the work of the artists are aware of the auction, or participating in it. When you have a small pool of people engaged in an auction, prices will not be bid up enough to get to a price that reflects the true value of the work. Add the emergence of the online services that will enter a bid for someone at the last minute....which happened on two items I was watching in this auction,.... and you get less bidding overall. It drives the bargain.

And there is that bargain mentality that people approach an auction with. They want to get a deal. The deal that no one else could get. So they can brag about it over cocktails...or in their blog!

But it seems to me that it is doing a disservice to the artists and to the organizations. What if, instead of auctions, they raffled off the art work? It might increase the participation. A raffle could increase the pool of people who are willing to enter the competition. The show I am doing at the Fitchburg Art Museum this weekend is doing this. They asked each artist to donate an item with a value of approximately $25, and then they are raffling off the work.

Or, Craft Boston sells gift certificates. Each artist can donate a certificate worth $50, $100, or maybe $250 dollars. The show organizers (The Society of Arts and Crafts), then sells the certificates, and the buyers can redeem them with the artist. I had two people vying for the certificate I donated on the first night of the show. It does not diminish the value of the work, the organization gets a better value, and it has better tax implications for the artist.

When we donate a piece of art, we are only allowed to deduct the value of the materials. Our labor is worth nothing in the deduction. Insane. But if we donate a gift certificate, it is more like cash. We can deduct the value of the gift certificate.

But, here is the thing. How many of the people who are getting steals in these auctions can afford to make a substantial donation to the organization....as opposed to the artist being able to afford making a donation of their work?? The artists are already paying a fee for the booth space. Artists are more typically living at the economic edge. Should they be the ones who are making the greatest sacrifice to support these non-profits?

It is sometimes argued that the auctions are a way to generate publicity for your work. Exposure to people who could become collectors. If they truly are potential collectors, why do so many things go for so little money?? Aren't collectors usually people who appreciate the work of the artist? And, is this the kind of publicity we need for our work?

I used to always donate items when asked by organizations. I no longer will donate to an auction, unless it is an organization I would happily support otherwise. I will donate a small item for a raffle. I will donate a gift certificate. Or, if the booth fee is high, I may just pass. We can say no. It does not make us a bad person. Just because someone asks, we still need to evaluate if it makes sense for us and our situation. How much does it benefit the organization? How much does it benefit us? And what are the potential risks? This requires careful consideration, and there is no one answer that will fit every situation, or every person.

View from the Other Side

I recently was the administrative person for a competition to select three artists to occupy the booth at the ACRE (American Craft Retailer's Expo) wholesale show, in Las Vegas. This was a competition that was sponsored by the National Polymer Clay Guild. The idea was to allow three artists to share a booth at the show and sell their work. The outcome would be increased exposure of high caliber polymer clay work to buyers, and the opportunity for the selected artists to kick off or grow their wholesale business.

I have entered quite a few shows and competitions over the years. And I been accepted, rejected, and wait listed along the way. After a class with Bruce Baker on jurying into shows, my acceptance rate went up, but rejection is still a frequent companion. I applied to three shows for the spring, and I was rejected by three shows. Granted, most of these shows were a stretch. But even so, there are things I can do to improve the likelihood that the outcome will be different next time.

Being on the other side of the process this time was enlightening. I got a better idea of what worked and what didn't. I saw the challenges some artists faced with the application process. I saw how daunting a task it is for the jurors to go through the process of evaluating the work.


So, what specifically did I learn that can help me do better in my own submissions?


1. Photography matters. Great photos made a difference. Photos that are big enough to meet the entry requirements. Photos that show off the work to best advantage. Photos that come alive. Sometimes a digital photo can have a very flat appearance. A good photo does not have this problem. With few exceptions, there was a direct relationship between the quality of the photos and the final position in the scoring. Great photos can help good work look great. Mediocre photos can detract from great work. If you want to see the gold standard in craft photography, visit the websites of some of the best craft photographers. Robert Diamante, Hap Sakwa, George Post, are just a few. See what you may be up against. Paying for top notch photos may be a worthwhile investment in your business, depending upon the shows and competitions you are entering.


2. Consistency matters. One of the biggest problems I saw in the work submitted was when an artist would submit three pictures that were of a similar style, and two pictures that did not relate to the first three. Jurors were looking for a story, a point of view, a voice. Inevitably, at least one juror would mark the artist down because of this.

This was a problem I used to have when I would submit work to a show. I figured showing range was important. My thinking was that if I had enough range, something would connect with the jurors, and that would get me in. In my case, it was a reflection of insecurity. In this competition it seemed to nearly guarantee a reduction in score.

Another reason artist's give for doing this is that they want to have work from two or more lines in the show, so they think they should show both, otherwise they can't bring one. This is a partial myth. If you have two, three, or more lines of jewelry, pick one, your strongest of course, and show that. You can still bring the other jewelry to the show.

If, on the other hand, you have work in two categories...jewelry and mixed media, for example, this is a different story. The cardinal sin is to jury into the non-jewelry category, and then bring jewelry. The competition for a jewelry spot is just too great. If you want to bring both, submit two sets of slides, one in each category. If you try to present both in the same set of slides you are doing yourself a disservice.

3. You need to be strong across the board. You need strong design, good use of color, and good finishing. Jurors are looking at all of these issues. Weakness in any one area may take you out of the running.


4. Jurors come with a point of view. We all have an aesthetic sensibility. Some have an educated sense of design, and for others it is based on experience and an intuitive sense. If we appreciate craft, we have certain things we respond to, and other things we don't. Something like color palette may subconsciously affect a juror's response. Or, a person's work may remind them of another artist's work...even though there may be no real connection.


In multiple cases, two jurors would give raves to an artist's work, and the third would pan it. And it was not because one juror was tougher than the rest. Each juror had certain work that did not connect with them for whatever reason, which the other juror's loved. Or, two jurors were not inspired by work that another juror would rave about.


This is something that is out of our control. We are not selecting the jury pool for the shows and competitions we enter. But, we can try to determine the shows and competitions where our work will be most appreciated.


5. Artists tend to procrastinate. Entries tricked in very slowly until the last few days. I understand this. We are often juggling many things, and putting together a show submission is easy to put off. But recognize that procrastinating about entering shows can come at a price. Technical glitches, on either end, may prevent your entry as the deadline looms. Give yourself enough time to figure out how images need to be submitted, formatted, etc. well before the deadline. It will give you time to think about the best images to present, the order, etc. If you have an hour to deadline and you still haven't been able to figure out how to format the images, you are creating needless stress in your life. If you need help with procrastination in your life, Christine Kane had a recent post on how to overcome this problem. Maybe you can pick up a few ideas of how to slay the procrastination beast.

6. Just trying counts for a lot. Making the decision, and following through, is taking yourself seriously. It is believing in your work and your abilities enough to take the chance. Some may say, "Oh, I never really thought I would get in anyway." But, even so, they applied. Some little voice said, "You should do this. You can do this." And they followed through. It takes courage to do that. It means you are saying you want something, and that you are willing to risk being denied the thing that you want. That is not easy. But it is necessary to move from where you are today to where you want to be. You will inevitably make mistakes. We all do. But, you don't have to own the mistakes. You can give yourself a gentle kick in the butt, and say "Boy, I won't make that mistake again." And the next submission will be stronger, and you will perhaps get what you are asking for that time.

Don't be afraid to ask. Don't hold yourself back from what you want to achieve. There are more than enough obstacles in life without building our own roadblocks. You may not get what you are reaching for, but, with the right attitude and spirit, you can end up richer and stronger in so many ways. You may learn something about yourself, and your dreams, that you would not have otherwise known.


I applaud the artist who entered but did not make it into the show. My heart is with you. There was more talent than there were spaces. This is often the case. That is why we need to work to improve every aspect of our entries. Putting our best forward every time, and each time, trying to make it just a bit better.