Last month we ran a survey for our readers and there were some really great comments and questions. One theme that repeated itself was about “making a living” at selling your work.
Here are a few of the reader questions: “How can I make a living at my art?” “How do you balance a personal life, regular work and creative time?” “Does anyone make a living selling metal clay jewelry?” “Can you make a living as an artist when you work with metal clay? This question could be asked to any “regular” person, like you and me ;)!”
I could have asked any of these questions! So I’m not the expert with the answers. But I have done a bit of research and I have some resources to share. The first thing I’d like to address comes from a conversation about these very topics with my father. He told me to “never pay too much for an income” and to “make a life, not a living”. Sage advice from a person I admire. I think his words address the question someone had about balancing work life and creative life. You can become a slave to your work even if it is your calling and by consequence miss out on family and friends. Many artists throughout history have sacrificed for their art. I have struggled with “work-life-balance” myself. I’ve had to choose what is the most important–not just to me but to my family and so creative time often gets missed even though working in my studio is like breathing for me. I decided that I’d never regret giving the time to my children. They won’t always be around but my many unfinished pieces of “art” will be there.
Question: “Does anyone make a living selling metal clay jewellery?”
Yes, I think there are artists who do! However, given that the job of “artist” lacks a regular pay check, artists have to rely on many revenue streams. Artists living off their craft work hard at marketing their work, they sell on many platforms such as shops, online and shows, they teach, and most have varied jewellery lines and some sell products. I would encourage you to find artists pages online, their sites and so forth and see how hard they work at “making a living”.
Question: “I would love to ask many of the high profile artists for more detailed information on how they achieved such name recognition/built their business in this community. And, if it supplies their full income, possibly even in the absence of a lot of travel teaching.”
This short talk by Paul Klein about finding your niche, removing obstacles and finding a mentor provides a great answer to the above question.
“Artist and career advisor Paul Klein emphasized the importance of being different. He insinuated that distinctiveness generates sales–even more so than quality. “Can’t all of us name artists who are doing really well monetarily, whose work we think sucks?” The branded artist doesn’t necessarily produce better work, but more bankable work.” Quote from this article in Forbes.
In “Part 2” I’ll find answers to the questions about the nuts and bolts of business such as inventory, tracking, descriptions of work.
My closing comment is to be yourself. I know that sounds so cliche. But it’s so true. I’ve been looking at metal clay jewellery for over a decade. (gasp) and I can almost without fail look at a photo of a piece of metal clay jewellery and tell you the name of the artist (and if I’m wrong–usually that person was the “inspiration” for the work). We need more work that stands out. In another article I found on Forbes by Jessica Hagy she shows why weird can be bankable. Yes…be weird, but let your own distinct artistic voice show in your work!
Image credit for opening image: Location Pillar in the stairwell of the UT Austin Art Building was up for two weeks
Jeannette Froese LeBlanc is working on becoming a distinct and profitable jewellery designer. From her studio in rural Ontario, Jeannette tries to balance life as a mom of two (very) active children and earn a living from her jewellery. You can find her work online and in several boutiques. www.SassyandStella.com
In Gordon’s project, he shows how to make a Pangolin ring. It is an awesome piece of jewellery modeled after a very interesting animal. His project is quite timely too as countries have started to come together to sign a trade ban on Pangolins. (NY Times article.) Learn more about this animal. (Telegraph UK article.) Continue reading…
I’ve been an admirer of Cindy Miller’s work for a long time so I was really happy to have the opportunity to find out more about her for this profile.
(Photo: “Branch with Labradorite and Drops” Necklace by Cindy Miller)
Raised in Alabama, Cindy is now a full-time studio artist. “I’m single and live in Athens, Alabama with my Maine Coon Cat Taz – she’s a big girl and ‘helps’ me a lot,” she smiled. “I have also been adopted by several feral cats that live in the neighborhood so I always have an escort to my car. I live on the Tennessee River next door to my sister and her husband. They have created a beautiful retreat at the river and being there is very relaxing.”
I was recently asked by PMC Connection to test the new sterling metal clay by Mitsubishi. I was excited, but also a little intimidated when I thought about all of the beautiful pieces made by testers of PMC products over the years: Hattie Sanderson’s rings, Celie Fago’s rings and charms, Terry Kovalcik’s bracelets. I worked hard on my experimental test pieces, but I didn’t end up with anything that will grace the posters and ads for the new clay. I did learn some things that I’m sharing in the hopes that my mistakes benefit other metal clay artists.
Let’sfaceit,asartisansmostofusfailatmarketingourselvesandour work.We hope buyers will flock to us out of nowhere and our pieces will magicallysellthemselves.For some of us the very thought of it fills us with fear and trepidation, so we chose to ignore it. If we do, then we are not hungry enough, or if we are, we choose to scratch out an existence instead—huntingfor change between our sofa cushions, eating beans out ofa can—and foresee ourselves spending our nights on a car seat. Well, maybe it won’t get to that but we will spend our time wondering why we have few buyers and agonizing over whether or not our work is good enough. This is not the artisan life we want; it is counter-productive and barely surviving.
Without a well-thought-out strategic marketing plan chances are slim you will be successful at making money at your craft. You have to conquer your fear and change your attitude. If you don’t know how to market your items, then it’s time to learn. If you think of it as an extension of the creative process instead of separate from it, then your attitude will change and you might even develop a passion for it. There is nothing like a few sales as a result of your efforts to spur you on. Let’s get busy and see what you can do to get your name and your work out there in front of the buying public. Continue reading…
SOLDERING BEYOND THE BASICS By Joe Silvera, Kalmbach Books, 2014.
I always tell my metal clay students that adding basic soldering to their repertoire can add versatility to their work. Until I took a class on production soldering with Joe Silvera, however, I didn’t realize just how many possibilities there were for more advanced soldering techniques to enhance my metal clay practice. Not everyone has such a skilled teacher available. Luckily, anyone with basic soldering experience and access to a torch can use Silvera’s new book to ramp up their skills.
Section one is full of information about tools, including types of torches and how to set them up and adjust them. It gives in-depth descriptions of materials such as flux and solder as well as some basic stone-setting directions. The author understands the limitations of home studios and his section on setting up a studio is down-to-earth and practical, with an emphasis on safety. Throughout the book Silvera suggests nontoxic products whenever possible. All the projects can be completed with the reader’s choice of a butane torch or a small tank torch system. Continue reading…