Every winter many artists in my area fall into a creative funk. The days are short so those with seasonal affective disorder feel the lack of sun first. Then there are those who feel “let down” after the hustle of shows and sales before the winter holidays. Some artists have pushed so hard to create lines and new work and once the shows are over, they are depleted. Starting over is sometimes hard. Others just fall into a creative funk seasonally.
Every February I’d beat myself up for not creating. Spring shows would be coming up and I’d look at empty shelves with no desire to make. One year I was talking to a local potter and he said he once charted his funky moods and found that if he didn’t give into them, he was even less productive. So when they came, he did what he felt like doing–if it was reading–he read. If it was the desire to take a dance class–he did. Eventually he learned that by giving into these “unproductive times” he was ultimately more productive. I think of him every February and wonder what crazy creative thing he is giving into and then I wonder why I’m fighting my own creative funk. This year I feel very, very far from my studio. I’m working a regular teaching gig. A painting teacher at the school invited me to sit in on his class…so I’ve dug out my paint brushes. I haven’t taken a painting class since 1993. It’s good. I’m starting to dream of colour combinations and to look at light and clouds creatively and not just with the sigh of an artist in a funk. Continue reading…
It is an opportunity not only to pass on important information about your techniques and your chosen media to your students but also to educate them about important topics such as safe working practices and artistic ethics.
(Bright and airy teaching studio of Ann Robinson Davis in Virgina, USA)
LEARN FROM THE BEST
If you are new to teaching, it’s a really good idea to learn from a more experienced teacher whom you admire. Try to find one (or more) who might be willing to let you be their “teacher’s aide” in a few classes. Even if you’re just setting up, tidying and breaking down the classroom, you’ll have an opportunity to give your full attention to observing his or her teaching style and techniques for keeping the class on time, on track and engaged, and for dealing with disruptions or needy students. Then try tandem teaching with another experienced teacher. Guild meetings also are a great place to learn and to share teaching tips and methods. Continue reading…
Breathe. I know it’s been hard. The bottom dropped out in 2016 and things haven’t gotten much better with the same slow Etsy sales in 2017. You’ve probably seen the same mantra over & over again in forums or on “expert blogs”:
“Better Keywords, Better Photos, More Listings”
That’s not the full story.
A different angle on why my Etsy sales may be down & actual data to back it up?!
“Wonderful, wonderful, wonderful, the best weekend ever” “I’ve been to lots of metal clay conferences but this one stood out for me for the warmth and enthusiasm of the delegates” “It was just magical, everyone was so welcoming and friendly” “When I left I felt like I’d walked back through the door from Narnia” “I learnt so much and made so many new friends, and was still buzzing when I got home”
These are just a few of the comments from the attendees of the inaugural ‘You can make it’ event, who left at the end of the weekend feeling inspired, happy and with lots of new friends!
You Can Make It 2017 took place in Wareham, Dorset, UK on the 24th – 26th March 2017. It was the brainchild of Petra Cameron Wennberg and was organised by her company Metal Clay Ltd. When Petra first approached me in 2016 to see if I might be interested in teaching at it I jumped at the chance. There hadn’t been any kind of large metal clay gathering in the UK for quite a few years and we were long overdue one. Petra was quite clear. She wanted to organise an event, but to be sure they could make the pricing viable they were asking if the tutors would be prepared to give their time for free – of course I said yes, and so did everyone else! We certainly weren’t going to miss out on it. Continue reading…
A few months ago we ran a survey for our readers and there was a reoccurring question about whether one could make a living being a jewellery artist. Some people asked specific questions wanting me to talk to a certain artist and find out what they made in sales vs how much they spent on materials. Other readers were not as specific but there was an overall hope that there was some magic path to follow to full-time employment at a jewellery artist.
The answer to the question is, Yes, you can make a living as a jewellery designer. But be careful how you define living! Many people have a vision that a full time jewellery artist designs jewellery and people buy it. But the path is more complicated than that.
Being self-employed is tricky as you wear many hats. Artists have to be able to handle marketing, business accounting, sales, shipping and receiving, customer service, inventory control, as well as design and manufacturing of your jewellery. When your desire is to create, stopping to look after marketing and accounting seems like it is taking you away from what you love. But it is those exact things that are keeping you working in your studio!
A jewellery artist needs to be able to self-promote on social media and have a web-site to show off their portfolios of work. Networking events are opportunities to meet new collectors and to show off your work. I personally find this part hard. I’ve worked for years promoting other artists, but always fall short when showing and talking about my own work.
But, all that said, many artists ALSO have jobs outside of their studio. Many work freelance jobs, taking on teaching and some have full-time employment. Most artists need to be good at budgeting as self-employed artists do not have pensions, medical plans or sick leave.
Another thing about being a self-employed artist–there is no time off. It is hard to balance home life and work life. I try to take advantage of blocks of time and get a task done from my to-do list. I keep a notebook and write down items as they come up. (I know there are fancy apps you can use on your phone.) I’m hoping I’m more productive by knocking off something from my to-do list here and therefore creating time off to be with my family. But shutting off the list and being present is something I’m working on!
In conclusion, yes, you can make a living as a jewellery artist just don’t lose sight of making a life while you make a living.
Jeannette Froese LeBlanc is a studio artist living in rural Ontario. She walks the fine line being making a life and making a living–trying to balance life as an artist and a mother. Currently she is working on a new line of jewellery using metal clay and mixed media. To see more of her work please follow her on Instagram: https://www.instagram.com/sassyandstella/
Genevieve Tucci Raised in Baton Rouge as part of an entrepreneurial and artistic family, my passion for creating began at a very early age in my mother’s art studio where I would sit every evening watching her paint, sculpt and design. I was extremely fortunate to attend Baton Rouge Magnet High School which offered stagecraft as an elective. Mrs. Ory, a saint in her own right, gave me confidence and the foundation to safely use powerful saws and tools while my mother gave me the confidence to learn any skill. After graduating LSU with a degree in Arts Administration, I strived for daily creative outlets in order the escape the 9-to-5 and this was also the time my husband and I bought our first home. It meant all the home projects I had been looking forward to could finally happen! It also meant my husband could get me power tools for Christmas, and I would be okay with it.
I have divided up part of my stash into 20 equal collections. Now I’m looking for 20 artists who would like to participate in a design challenge. Everyone will get the same amounts of vintage beads, chain, and crystals in their design kit. You can use them any way you want and with any media.
Basic Challenge Parameters:
-Due date: March 31, 2017.
-Must send images of finished piece to cre8tivefire (@) gmail.com.
-Must use 4 pieces of design kit in your finished piece. (1 piece = 1 bead, 1 component, or 1″ of chain)
-Artists can submit up to 3 pieces–either separately or as part of a set.
Oh and is there a prize?
Yes there is! I have 2 original vintage pendants from the 1960’s found at CJS Sales. A little piece of art history!
**Plus we will put together an interesting series of articles showing off the designed pieces, comments by the artists and a gallery. I think this would be really fun and it gives us a chance to work with unconventional materials and to stretch our design ideas!
Anyone game to join a design challenge? ***NOTE all kits have been claimed*** Stay tuned for the results!
A few artist friends have mentioned how bold customers are getting asking for discounts. Oh I know how difficult that is to deal with when you are put on the spot. You want to make a sale, but not at that price. An artist who sells only online says that online customers are even bolder and will ask for 50% discounts. Sometimes even asking for free products in exchange for an article or promotion. The internet seems to give people a veil to hide behind as they are not saying things to the person’s face. An experienced artist once told me not to lower my prices and not to bend to the pressure of discounts. She said that it was so easy to go down in prices, but to bring them back up is harder. If your new low price is known, it becomes your new price.
As the time before the holidays speeds up and patience runs thin, this is a great time for you to set your business apart from the rest. Instead of just making a sale–go above and beyond with your customer service. Did you know that there were trends in customer service? Me neither! I found this article about it. Things to think about adding to the service you give your clients:
Make it easy for customers to get help from real people;
Obsess over every detail of the customer experience;
Be proactive, and don’t wait behind a desk for customer contact
The last point is a good one…ask your customers for feedback. Sounds scary. But it is a great way to learn ways to modify designs, packaging, shipping…etc. I’ve done this in the past and have turned a few buyers into friends. I took their advice and modified my jewellery designs. Win-Win for both of us.
Imagine chatting about the history and the future of jewelry design while sitting in a warehouse stacked floor to ceiling with boxes and boxes of mostly vintage beads and jewelry making components. What an astounding wonderland of inspiration! I metwithCarlandElyseSchimel,co-ownersofCJSSalesinNewYork City, one of my favorite places to head for a creative boost.
(Image: Wire wrapped stone necklace design by Carl Schimel.)
The CJS Sales warehouse is located on 36th Street between 5th and 6th Avenues in New York City. Savvy jewelry designers can spend hours poring through this extraordinary trea-sure trove that holds literally millions of vintage beads and jewelry making supplies with limitless design potential. The Schimels are constantly seeking out great buys on anything that might be used for making jewelry and accessories.
“We bought a chandelier store that went out of business…[and] a rhinestone factory. We try to keep things that will be inspiration for people and [are] also unusual and different. We price at what we bought it at, so you can get quality vintage parts that are not found on today’s mar- ket at great prices,” said Elyse. To help designers compete and allow their work to stand out, Elyse and Carl sell only to wholesale customers who come to the warehouse. “We do not sell on the internet or show broad images. We do this to protect our buyers. Our customers are very knowledgeable. We believe in promoting design- ers, fostering new ones, to give them an edge.”
(Image: The Milwaukee Sentinel – July 31, 1969)
As a jewelry maker, I marvel that Carl stayed constantly ahead of the curve with his fashion-forward jewelry designs for more than 50 years. It was fascinating to listen to him talk about why he created the line and the manufacturing hurdles he had to overcome to get “Kim Crafts- men” jewelry out to buyers.
I was curious about how the Kim Craftsmen showroom and design space morphed into this vast warehouse of jewelry making supplies.
Elyse explained, “When Carl was liquidating [his jewelry manufacturing business] I started cold calling people. He thought it was cute [and] he was giving me a 100% commission. I started to bring in big accounts, he started to buy [at] fire sales and we started a wholesale liquidation business.” Carl adds, “If I had to describe the business I’d say it is a designer’s quarry. Designers come here to dig out treasures.”
I can personally attest to the digging! When I pay Carl and Elyse’s warehouse a visit, I come prepared by dressing as if I were to go climbing, I bring a rolling suitcase (after one visit where I lugged 30 lbs of beads in a shoulder bag thirteen blocks in NYC) and of course water and a cell phone—in case I get lost or to keep track of time. Losing a day in here is an easy thing to do!
As Elyse showed Art Deco glass beads, unfinished brooch components from the 1950s and mouth-blown glass beads, her father talked about how the artist’s hand should be apparent in his or her work. Carl used the term analog to explain how he worked. “To me [using] a pencil is analog. When you write with a pencil there’s pressure, there’s a difference in how it looks. You can write the same thing ten times…it will be the same each time but [also] different. When I caged stones using wire wrapping the concept being used was ‘mass individuality’; everyonecould have a caged stone but all of them were different.” Today he is intrigued by the idea of what he might have made if metal clay had been on the market when he was making fashion jewelry. “What happens is, as an artist you use the materials that are available at that time in the best ways that you can. But can you imag- ine what Alexander Calder would have done if [metal clay] had been available to him?”
Elyse models one of her father’s body jewelry pieces. This image is reminiscent of a photo from a 1969 newspaper article about his work.
Calder, a world renowned sculptor best known for inventing the hanging kinetic sculp- ture form known as a mobile, had a tremendous influence on Carl’s jewelry design. “When I got his…enormous book of jewelry it showed him working in his studio…a lot of his style of jewelry was much more understandable to me. He wasn’t using goldsmith tools, sized for jewelry making. His tools were large anvils with heavy handles, blacksmith tools, as he was used to making large mobiles and stabiles so there’s immediacy to the way Calder worked, and it showed in his work. If you look at his pieces, there’s a freshness still to his work. You can feel the hand, the way he twisted and moved to create his pieces. That’s analog!” Carl exclaimed. “You can always recognize his tools…for example if he used a hammer with a scratch on it, it would show on his piece like a fingerprint.” Carl went on to explain how metal clay is analog. “It is hands-on. In an age where a tremendous amount of design is going digital, the look is just opposite—180 degrees opposite. I’m sure [the artists using digital design tools] are very, very fine designers. It doesn’t look like jewelry that I’m used to. Metal clay takes me back to when we made jewelry. And we wanted to call it ‘Artistry in Metal’ because at that time, in the 50s and 60s and 70s, bench designers sat down and worked with the material, they under- stood the material. Metal clay is another vehicle for artists to express themselves. It is a phenomenal material….”
(Photos of jewelry by Kim Craftsmen, a company owned by Carl Schimel and his brother.)
I couldn’t agree more! Combine metal clay with some of the vintage beads and findings at CJS Sales and you’d have an exquisite combination of a modern material matched with vintage beads. If travel to New York City is not an option, seek out your own local charity, “antique” shops, or online for vintage elements to add to your own jewelry. When I find my creativity waning, a visit here spurs new ideas in new directions. It is like going to a museum for in- spiration, except that here you can take home the items that inspire you and use them in your work! Elyse showed me old pedals from a ma- chine. I forget what machine they were for because I was focused on the typeface used for the logotype imprinted on them! Inspiration for a new line of necklaces, perhaps? Now how to explain to the TSA agents at the airport that I need to bring home a half dozen metal pedals even though I have no idea what they are for!
CJS Sales: www.cjssales.com, 16 West 36th Street, 2nd floor, between 5th and 6th Aves., New York, New York 10018 (212) 244-1400
It is very hard for some artists to write an artist statement and it is sometimes equally hard for others to read. It is easier to write a bio and to tell others where you’ve been and what you’ve done. But it is so much harder to explain why.
Having an artist statement prepared is a great way for customers to connect with your work and it gives shops and galleries “sound bites” to use to promote your work. After having suffered through the agony of writing my own artist statement I can tell you that the most important thing about an artist statement is the process of writing one. I found it helped me sort out my own artistic history and methods. It has helped me to clarify the direction of my work and it has jump started a new body of work. Despite already knowing how important one was to have, it’s not something I’d written for myself.
I rewrote my artist statement. (After I raided my kids’ trick or treat bags, walked the dog, tidied my studio…procrastination is one of my rituals before writing.) I read some guidelines about artist statements and I started over. I hope my new version is a real artist statement. And I hope that when you need to write one you can remember that they are very hard for most artists to write—give yourself a break.