Another Reason to Find YOUR Voice

Once again, the issue of voice arises. What makes your work identifiably yours, and belonging to no one else? And why in the world is it such a big deal?

When you first start out, voice is hard to grasp, or develop. Technique takes center stage. But you know you are seeing it when you can look at a picture and immediately identify it as belong to a specific person. Or, your mouth drops open when you see something for the first time, and you gasp. Or you just feel compelled to touch. You can't stop the "oooohhh..." from floating out of your mouth.

Why am I bringing it up again? I was listening to the radio this morning in the car on the way to an appointment. The conversation was about our dependence on oil from other countries, and whether or not we could become energy independent. At one point in the discussion, a light bulb clicked on in my head. The guest on the program spoke about how oil is a commodity like iPod's, flowers, or rice. And people will buy a commodity based on price, availability and convenience.

The question that immediately popped into my head was, "Can craft be a commodity?" And, I am sure you know the answer, "Yes." Without a doubt. I instantly thought of the many, many jewelry artists I have seen making fused dichroic glass. At one time, there was a "wow" factor to it. But now, unless the artist has created a unique way of incorporating the glass into the piece of jewelry, there is no compulsion to buy from one artist versus another, unless it is based on price, convenience, or perhaps personal relationship.

The same can be said of so many other craft objects. If you go to enough craft shows, you will see many of the same things, again and again. But, at that same show, there will be a few artists that pull you in. They are doing something that is different and unique. As I write about this, I can think of several artists right off the top of my head whose work has that flavor. They range from ceramics to sculpture to jewelry. Their work stays in my head because it was so fresh and unique, and their style speaks to me on some level. I have to stop, and look and maybe even buy.

My daughter is beginning to dabble in photography. We have had lots of conversations lately about photographs, and one thing she has said repeatedly, is that a picture of a sunset is not art....unless you are somehow looking at it in a new and fresh way. We were at the New Hampshire Craftsman's Guild Show last week, and she saw some pictures of boats tied up to a dock. Four or five rowboats of various colors. You know the picture, I am sure. She loved it. I preferred the picture of the sole boat, white, tied to a buoy in a mist. Monochromatic, and definitely one with a mood. It was a twist on the boat picture. I pointed it out to her. She loved the one with all the colors. This was in the first tent we visited.

As we walked the show, she started to notice several other photographers with essentially the same picture. That image had become commoditized. Buying one versus another would likely be based more on price than on anything else. She now looked at that picture as just another sunset shot.

Is that why you want someone to buy your work? Because you have the best price on this object. An object that can be found in subtle variations, from multiple sources. I don't. I want them to buy it because the love it. Because if they don't buy it, it will stay in their head. They will wish they had it.

There are times that the commodity item fills the bill nicely. And there are plenty of successful businesses built on making and selling commodity type items. But, if you are going to be in that market, recognize the competition will be fierce, and you will always be squeezed on price. Your creative energy will likely be focused more on cost cutting than on design innovations. If the business side of things is what excites you the most, that might be just the right fit for you. If, on the other hand, it is the art, or creative side that makes you get out of bed in the morning, then avoiding be just another commodity is essential to your success.

We all have a voice. A unique set of experiences and inspirations. How does your work reflect the path of your life? Does it? If it doesn't, then perhaps it is time to spend some play time in the studio. Experimenting. Asking "What if?" When you find it, you will know. It will be singing to you loud and clear, asking, "Where have you been? I've been waiting for you!" And then, the party will really begin!

Is It Bullying or Just An Innocent Request?

I found myself in an awkward position several times during the retreat weekend. I had brought some of my new work to show, and sell. It was wonderful to have a group huddled around the work, touching, "oohing", and "aahing". When you have spent months, or longer, working out a new line of work, there is nothing more gratifying than seeing other people appreciating it. And when that appreciation extends into purchases, it doesn't get much better than that. Voting with dollars is the biggest "yes" you can get about your work.

But, I had not anticipated another side of that appreciation, and it had to do with the environment I was in. I had many requests to show exactly how I make the beads I use in my new Shibori line. How do I get them so uniform in size? How do I do that surface design? On one level it is flattering. They so connect with the work, that they want to make it themselves. But, on the other hand, I am not ready to share just yet. It is what I am selling. My income depends upon this work, and these designs. It is too new to be firmly recognizable as my work. It is less than a year old.

What exactly are the costs of my laying it all out there at a retreat.....doing a demo? First, I will be giving away my "intellectual property". Exactly how I make these beads, in form and surface design, is my intellectual property. Just like companies that make widgets, that knowledge has value. Others may copy what I am doing, but there is no reason for me to hand it to them on a silver platter. Why do you think companies like Apple voraciously defend their patents and copyrights? Their knowledge is too valuable to lose. Right now, I feel protective of the knowledge of how I make these beads.

If I decide I want to share it, it might make more sense for me to teach in a class where I am being paid to teach what I have developed. It is at least acknowledging that the time and creative energy that went into this work is worth something. Whether it is in the form of a DVD that you have made, a book, or a classroom, if you are being compensated, you are acknowledging you are sharing something of worth, as is the recipient.

Sometimes we give stuff away freely and without the need or desire for compensation. I did a demo at the retreat of some designs I came up with a while back, and knew I was never going to use. Sharing it meant someone else, who might connect with the idea more than I did, could run with it. I did it willingly and freely. It felt right.

The problem with the retreat environment, with demos on the schedule every half hour, is that a perception may develop that everyone shares everything they know. Holding back is selfish. Especially to someone who is not aware of the complete landscape of where this medium fits into people's lives. Some play with it as an outlet from their regular job. For others, it is a job. And others float back and forth in the mid-zone.

It is not too hard to politely turn down a request to teach something that you are not ready to share. The challenge I found, was having the request made multiple times by the same person. I think the intention was made without fully grasping the consequences to me, and thus the persistence in asking. I was polite but firm in my resistance to teach this particular technique. I repeatedly said, "I am not ready to let go of this yet. They are new designs."

I found my response became more strained when faced with the same request again and again from a few people. I held my line. But would someone else who was not standing on such firm ground, eventually give in to the request, not able to say "No" just one more time? The recipients of the knowledge shared might walk away pleased with what they have learned, but will they understand the resentment they might have created in the person they dragged the information out of? I am guessing they just don't know what it is like on the other side of the equation, and why there is resistance to sharing.

Just because someone asks, it does not mean you have to share. You share because you want to. I am not saying this from being a cut throat business person. I am saying it from the point of view of being pragmatic. I can make a choice; to share or not to share. It is my choice to make. And the timing is up to me. I may disappoint a few people along the way, but in the end, I would rather do that than carry around the resentment of feeling bullied into sharing something I was not ready to share.

If teaching or writing is the primary source of income for your business as an Artrepreneur, the decision process might be different. You may be interested in demonstrating your teaching abilities to potential students.....giving them a taste of what they might learn from you in a more extensive class. Or you want to practice and refine your teaching skills. These are valid reasons to perhaps share more willingly and openly. But the context of those choices, or an alternative choice are not always recognized by others. Even when we explicitly state our reason.

It never feels good to say "No, I am not going to share this." It feels even worse when you have to say it again and again and again. But worse than that, giving in when you know in your heart, you do not want to, at least not yet. Approach these choices with a conscious awareness of the trade-offs. And whatever your choice, make sure it comes from what you need right now, and not the external volume. Remember the old Gallo wine commercial...."We will sell no wine before it's time." We must not share our designs and techniques, until the time and circumstances feel right. Then we can let it flow as freely as the wine!

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.

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.

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.

Competitive Advantage

In business school, especially in marketing, there is a lot of talk about competitive advantage. Positioning yourself or your product to achieve competitive advantage in the market place. In the world of art or craft, no one uses words like that. But, an issue that is always able to stir up interest actually may be all about competitive advantage.

Voice. Your creative voice. In the end, finding your own voice, your style, your own unique way of expression is ultimately the best way to create competitive advantage.

Let's step away from art or craft for a minute, and talk about cola, or tissues, or diapers. Do you think of Coke(TM), Kleenex(TM), or Pampers(TM)? Each of these companies created an identity so strong for their products, that their brand name is virtually synonymous with the product name. Certainly, we can all name products that compete with each of these businesses, but they do not spring to mind as quickly as these.

Back to the world of art. Vincent Van Gogh, Monet, Andy Warhol, Jackson Pollack. Do you get an immediate visual image with each of these names? I do. These artist each have a voice that is strong and recognizable, that in business terms could be called brand identity.

When I started out selling my work, my focus was on technique. I thought it was all about being good at doing something. Well, that only carries you so far. What truly creates competitive advantage in the business of craft is having a distinctive voice. Kim Cavender is actually running a contest right now that is all about this very thing. Identify the artist for the images shown in her blog post.

By developing a strong and distinctive voice, you will not only have your work become recognizable, but, anyone copying your work will be seen as doing just that. There are painters who are masterly at creating technically accurate copies of another artists work. And much can be learned in that process. But, it is the difference between Coke, and the store brand cola. It will never have the same perceived value in the broader market as the original. Sure, there are plenty of people who might be very satisfied with a brilliantly executed copy at a reduced price. But, will the copyist every reach the same degree of satisfaction in the creation of the work as the originator? And, it will never be valued as highly as the work of the originator.

This past weekend, I attended an open house for a school we are looking at for my younger daughter. This school is very unique in it's approach and philosophy. It follows the guidelines of an essential school. Students do not get letter grades. They build a portfolio of work. They get a narrative assessment of their work. And they are evaluated on a gradient of learning....a learning curve if you will. Everyone starts out as "Just Beginning". You are not expected to master the work when you are just beginning. Mistakes are welcome. They are part of the learning process. Things are learned with practice and experience. Eventually, typically over a period of two years, a student will reach a point of mastery, where expectations are met, and they are ready to move onto a higher level.

When we start our in our craft or our artwork, we are just beginning. We practice and refine our skills by copying that which has come before us. Eventually, we may tire of a technique we master, and then move onto another technique and master that. I recently heard an interview with Nick Lowe, the musician, who described this process beautifully. He talked about how as a musician learn, they mimic the work of other musicians whose work they admire. There is something in that artist's work they connect with. Then they move onto another artist, and another, and another. But at some point, they stop looking outside to learn. They take the pieces that they have learned, and start taking parts of them and putting them together in new and different ways. It is not always about reinventing as much as rethinking. Combining things together in a way that others may not have explored. Taking the pieces that speak to your heart, and inspire you, and putting them together in a way that feels right for you.

I think this quote from Marc Chagall sums it up nicely,

"If I create from the heart,
nearly everything works.
If I create from the head,
almost nothing."

Where are you on the continuum of just beginning to mastery? Have you begun to discover your competitive advantage?