Marketing Your Work: The Basics BY CAROL AUGUSTINE

isgLet’s face it, as artisans most of us fail at marketing ourselves and our work. We hope buyers will flock to us out of nowhere and our pieces will magically sell themselves. 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—hunting for change between our sofa cushions, eating beans out of a 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…

Book Reviews by Pat Evans (Soldering, Leather and Architecture in Metal)

MCAM 5.4_Page_24_Image_0001SOLDERING 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…

No Mirrors-My Dream of an Art Retreat by Jeannette Froese LeBlanc

mirror
Last week I went camping. While away I didn’t check the news. I had no phone calls. And no mirror. For a week it was just me and my family. On the way home we decided to drop in on a relative for a visit. It was then that I suddenly saw what we were wearing and realized my daughter had not combed her hair in days. Then I realized I hadn’t combed my hair in days either. It’s not that we didn’t have time! It just wasn’t important.
Continue reading…

Metal Clay 101-Syringe Extrusion by Teva Jane Chaffin

Chaffin RingsThe syringe is my go-to form of metal clay for many techniques and applications. Not only is it great for setting cubic zirconia (smaller than 3mm) but also for creating texture and pattern.

unnamedOne of my favorite uses is creating a filigree-type tree of life. I also use as a fill in for seams or gaps that may appear when creating dry construction pieces. Using steady pressure and a moist brush for smoothing will make a smooth join.

Holding syringe(1)Holding the syringe – Avoid a death grip!
It is important to hold the syringe in a way that is comfortable for you. My recommendation: grasp the syringe barrel using four fingers of your dominant hand and place your thumb on top of the plunger. The “wings” of the syringe will rest on top of your index finger. Use wrist movements to guide the direction of the syringe.

Cutting the tipTo trim or not to trim the tip:
The amount of the tip you cut off will determine the size of the line to be extruded. The more you cut, the large the line. It can be useful to have multiple length tips available for a variety of uses. Be sure tips are on a syringe and kept moist in a cup of distilled water or a syringe saver in between uses. Continue reading…

Clean your Studio, Heal your Artself By Ann Davis

This article is a reprint.  To see the original article click here.  Over the years Ann and I have heard from so many artists how her article changed their lives. Read on and heal your “artself”.
ann davisMy studio has always been an active working space, more of a workshop where things are made than a quiet space for inspiration. I’ve never needed a girly-girl space because I was a “Serious Working Metalsmith” and my professors, teachers, smithing friends all had, for want of a better description, tool shops. Everything creates grime!! To me having a clean space to do enameling meant one square foot of clean tabletop.

I used to do casting production runs. If you are not familiar with that, it’s often making one hundred of one thing in a week, after which of course it was a really dirty workshop. But I never questioned it. My work was fulfilling and profitable, and I loved it. And so it went for 40-plus years and several different studios.

Viewing a Crafthaus exhibit, Studio Sanctuaries, created by Pat Morrow caused me to contemplate and reevaluate the space where I spend so much of my day. I felt it had become divided between the computer desk, bookkeeping, and fun-interacting with friends and the overstuffed, chaotic workshop side. This was something that had been bubbling up in my thought process and banging at the door of my conscious awareness for some time. The struggle between the messy “get to work” side and the computer “play” side finally crystallized into a thought. I had been disrespecting myself, my work- er self and my inner self, my whole self. Continue reading…

Artist Profile – Linda Kaye-Moses Interviewed by Julia Rai

1Khaleema Neckpiece 300 dpiLinda Kaye-Moses has been a leading light in the metal clay community since its earliest days. I first encountered her on the Yahoo Metal Clay Group, the original community forum for metal clay artists, which was the go-to place for information and answers before Facebook came along. A regular contributor to the group, Linda’s posts in response to questions were notable by their thorough and considered answers, always based in her personal experience and depth of knowledge. (Image: “Khaleema Neckpiece”)

7THE WAY IN Continue reading…

“I’d love to visit your studio!” by Jeannette Froese LeBlanc

w-studio
Not my studio…

Nothing stops me in my tracks quicker than a friendly offer to come to my studio.  My studio has been a mess for years. Last summer I started the mammoth task of cleaning it up. I think it looks pretty good now, but I still fear company. I used to blame the mess. I’ve recently come to the realization that I have other reasons. (Photo is NOT my studio…this is from the magazine Where Women Create, May 2014.)

One of the reasons is that my space is very personal.  I have treasures on display…but not on public display. Rocks collected in Newfoundland, a kazoo Santa gave me, my military dog tags, a metal toy kitchen that was my mother’s, an old lamp in the shape of a green Buddha…stuff I like but that I don’t want to explain to another person why they are special. Continue reading…

Bronze Swing Earrings by Cindy Silas

MCAM 4.3_Page_56_Image_0001Combining metal clay and polymer clay in a piece of jewelry is a great way to add color and contrast. To connect the two mediums, it helps to build some sort of connection into the metal clay that will allow the polymer to wrap around it or otherwise grab a foothold. In this pair of earrings metal clay ovals are connected with small blocks of metal clay and once the polymer clay is added the connection is hidden. I’ve used bronze clay but you can use any type of metal clay.

Metal Clay 101: Metal Clay “Snakes” – What Are They Good For? By Delia Marsellos-Traister

There are so many creative possibilities with metal clay. One opportunity is to roll coils, or as many of us lovingly call “snakes”. Coils may be used for bails, decorative accents, or as a primary part of a piece.

Right off the bat, let me tell you, that rolled coils, are stronger than syringe coils. There is more metal content by volume in lump clay then there is in syringe clay. This extra strength comes with a trade-off, though. Coils take a while to dry when compared with a rolled-out, flat, piece of clay due to the extra volume. Give coils a good hour to dry in air. If after ten minutes of air-drying, your coil seems stable enough to put in a dehydrator or on top of a warmer, then go ahead and do that. Take care that you don’t move your coil too soon. Otherwise, you risk flattening one side or picking up texture from the tray.

OKAY!  Let’s go!

IMG_3089 Continue reading…

Artist Profile: Jennifer Kahn Rich by Julia Rai

This interview appeared in the 2nd anniversary issue of Metal Clay Artist Magazine in 2011.  We loved Jen’s work then and continue to follow her career as a jewellery designer.  (Note: New pieces from 2016 appear at the end of the article along with contact information to see the entire collection.)

MCAM 2.3_Page_37_Image_0003MCAM 2.3_Page_37_Image_0001Jennifer Kahn was born in Miami, Florida and spent her childhood in Marietta, Georgia. At age 10 she moved to Westchester, New York, where she lived until she left to attend the University of Vermont. As she put it, “I seem to have slowly worked my way up the East coast, despite hating the cold!”

MCAM 2.3_Page_37_Image_0002I asked Jen about her earliest creative memory. “My mom would say that it was the way I dressed, mixing colors, patterns, putting outfits together at a very young age. She gave me the freedom to be creative in everything I did. I loved to draw, paint, pretend, decorate things, build forts and create exotic mud stews. I remember making copper jewelry in camp and really loving it.” Jen told me that she always has loved making things and working with her hands but that she didn’t take those activities seriously until she was in college. “I was an English major and wrote poetry, but I didn’t know how those things could have real world applications. I loved my art classes more than anything and my teachers were very encouraging, so I switched to a double major in English and Art. I took every art class available but nothing quite struck me. I knew I liked working small and I most liked the working properties of clay. After working with PMC for a while, I knew I wanted to be a jewelry artist.”

MCAM 2.3_Page_36_Image_0005 MCAM 2.3_Page_36_Image_0004Jen discovered PMC in 2000 during her senior year at the University of Vermont while she was working at the Frog Hollow Gallery in Burlington, VT. “They carried Celie Fago’s amazing jewelry. When she was the featured artist of the month they had a wall of photos of her working with PMC and a display showing a lump of PMC and her finished work. All I could think was, ‘This made that?’ I couldn’t believe such a material existed and it was coming along at a perfect time in my life. I loved the fact that you could work it like clay but that the finished piece was pure silver. I also loved jewelry, so the idea of making my own was very exciting.”

MCAM 2.3_Page_36_Image_0002 MCAM 2.3_Page_36_Image_0001Jen didn’t take to it instantly, though. “Initially I ordered some [PMC] and started working with it in the air, sculpting a little moon. It was drying and cracking before my eyes and the whole experience was very frustrating. I asked my pottery teacher to fire it for me and he was a bit put off [about] using the huge kiln to fire this tiny little cracked moon. I took Celie’s class a few weeks later and learned to work on top of Teflon and under a sheet protector to delay the drying and cracking. The pieces were fired in a small jewelry kiln. By the end of the class I felt confident about working with this strange stuff.”

That experience changed Jen’s life. “Upon graduation I became Celie’s live-in apprentice and teaching assistant and I accompanied her on her travels around the country and abroad,” Jen explained.

MCAM 2.3_Page_35_Image_0003 MCAM 2.3_Page_35_Image_0002I asked Jen what influences her work. “I’m drawn to and inspired by primitive and ancient artifacts and adornment because of the meaning infused into them. These pieces tell stories. They are connected to rituals, history, the land; they carry powers of protection, prosperity. They are culturally rich and full of identity. These days, it’s hard to feel connected, to feel meaning. Everything is so
anonymous and mass-produced. I like the idea of reaching back into time, reaching out into distant lands and pulling those primitive styles forward, adding my voice and giving them a contemporary edge.”

She continued, “I’m fascinated by the way things are put together –patched, hinged, riveted, stitched – and often incorporate such connections in my pieces. I gather inspiration from a pattern on a textile, the texture of a leaf, beautiful, old rusty things. I’m constantly trying to fuse old and new, industrial and natural, urban and ethnic.” Jen cites her Journey Necklace as a good example of her influences.

MCAM 2.3_Page_36_Image_0003Jen does most of her work at a desk in her room. She’s just now setting up a studio space in a spare room for her flex shaft, kiln and torch. “I end up doing a lot of wire work and finishing at the kitchen table by the fire – Vermont winters are long and cold!” Her favourite tool isn’t much of a surprise: “Celie’s Nesting Tube Set! She makes a set of brass tubes in eight different sizes that all telescope on a beautiful spiral holder,” Jen explains. The tubes are used for cutting holes or small clay circles.

Her creative process is interesting and she sketches out designs whenever inspiration strikes. “I keep a few sketchbooks. I’ll start one and too much time will pass so I’ll start another, and before I know it I have three half-used books sitting around. More often I’m sketching on the back of receipts or envelopes. My sketchbooks aren’t organized at all. I guess I think of them chronologically and can find things that way.” “Some ideas spring from designs I’ve made already. I like to take [existing] pieces that I make in new directions. When I need inspiration I search the web and through books on ancient and ethnic jewelry. I also flip through fashion magazines. Sometimes an idea will just come to me while I’m driving or as I’m falling asleep. I’ll do a quick sketch and try it out the next time I work.”

MCAM 2.3_Page_35_Image_0001She uses several different techniques in her work. “I use wire work – lots of bead wraps. I love stitching with wire and making metal clay bases for things I can add wire to. I also love riveting.” I asked her what other skills she felt were important for metal clay artists to develop. “Basic metalworking skills: fusing, soldering, cold connections. The more skills you pick up, the more complex your jewelry will become.”

I asked Jen what advice she would give someone who is new to metal clay. “Well, this really is a tip for any artist. Celie told me early on that it’s important that every part of a piece has been thought about. She would say that the back is another opportunity for creativity. For this reason, many of my pieces are reversible. It is a joy to watch people turn my pieces over and be surprised by the other side.” Her necklace with nine large, bezel-set Chinese turquoise cabochons is a perfect example; the backs of the settings are as beautiful as the fronts. I asked her how she constructed this impressive piece. “All the stones were set after firing. The backs of the settings were textured and the bezel walls were made with PMC Sheet. I made the settings 118% bigger than the finished size so that the stones would fit right in after firing. Then I set them as a metalsmith would with a bezel pusher and a burnisher.”

MCAM 2.3_Page_35_Image_0004Jen’s work has appeared in several prestigious publications. “I wrote several articles on setting stones in PMC after firing, followed by a chapter on that subject for Tim McCreight’s book PMC Technic. I was so honored to be a part of that! I also have work in Tim’s book PMC Decade and in Robert Dancik’s Amulets and Talismans. Last year I wrote a chapter on fabric earrings for a Lark book [by Marthe Le Van] called Stitched Jewels and my work was on the cover!” Jen also has won a couple of awards. “In 2003 I won second place in a national juried exhibit by Fred Woell called ‘Positively Precious Metal Clay’.

jk2

She sells her work through several venues. “I have an Etsy shop and I sell my work at an outdoor Artist Market in Burlington on Saturdays from May through October. I also have my work in a lovely accessory boutique in Burlington called Trinket and I do a few local holiday craft shows and trunk shows.” I asked her what tips she had for artists who want to sell their work in the same way. “If you’re selling online, take fab photos. If you’re selling at a craft show, find or make great displays that jive with your work. And for selling in shops, approach shops/galleries very professionally and creatively. Remember, every part of everything is an opportunity to be creative! Use letterhead with an image of your jewelry on it. If you’re delivering work in a box, make the box beautiful. These are all chances to show how passionate and how good you are and to impress that on people.”

jkFor more information about Jen and to see more of her work, visit her web site at www.jenniferkahnjewelry.com or her Etsy shop at www.jenkahn.etsy.com.

 

 

 

Julia Rai iMCAM 5.1_Page_34_Image_0001s a teacher, writer and artist working in a variety of media. She is the director of the Metal Clay Academy and runs the Cornwall School of Art, Craft and Jewellery.

She finds inspiration in science fiction and fantasy and loves a good story where disbelief can be suspended in favour of wonder. Her practical and ultra-organised side is always vying for attention alongside her creative and messy side. Each is trying hard to learn from the other and live in harmony.