Selling at Art Shows: Treat or Torture?

"River Pebbles." Sterling and 18k gold, with blue sapphire and Tsavorite garnet. Photo courtesy Deb Carus, <a href="http://www.elentari-handverk.com/">Elentari Handverk</a>.

“River Pebbles.” Sterling and 18k gold, with blue sapphire and Tsavorite garnet. Photo courtesy Deb Carus, Elentari Handverk.

If you attend art and craft shows—and if you make artisan jewelry, you probably have—you know they can be a lot of fun. At a good show, there are lot of interesting pieces—not only jewelry, but sculpture, painting, fibers, woodwork. There’s lots of potential for inspiration.

But for a retail show to be successful for someone holding down a booth at one, the artist has to be willing to engage potential customers. Many artists enjoy the chance to “chat up” their work to potential buyers. They are, after all, enthusiastic about the pieces they make. (Aren’t you?) Continue reading

Shapes: On the Edge

Because shapes inhabit finite areas, they have edges. Edges are always active places, where the material, color, dimension/thickness, elevation or texture changes. At edges things can dissolve, penetrate, escape and enter each other—think about cells. They can dive under or soar above each other.

Edges slice, border, enclose, separate, divide, surround, protect. If interior shapes pierce other interior shapes or the borders of the piece, they may be interpreted as either having a lack of control or making a bid for freedom.

"Second Blossom." Betty Helen Longhi. 18k/ss bi-metal, sterling, niobium, stick pearl. Photo Michael Cunningham. Photo courtesy of the artist.

“Second Blossom.” Betty Helen Longhi. 18k/ss bi-metal, sterling, niobium, stick pearl. Photo Michael Cunningham. Photo courtesy of the artist.

Edges are where things can change from solid to insubstantial or back—and usually suddenly. (We use the term “on edge” when we’re tense or irritable. Or “edgy” when something is new, pushing the envelope, pushing the edge.) As a result, edges can be exciting or terrifying. Stand on the edge of Grand Canyon and depending on how you feel about heights or space, you’ll see what I mean.

As we’ve already seen, edges are not seen alone but in context with other shapes. If a transparent or translucent shape overlaps another shape, it can alter the color or the apparent texture of the shape below it. That area of overlapping creates yet another shape, one with its own edges. It’s like looking into a hall of mirrors.

The quality of its edge says something about a shape. Edges may be blurred, sharp, soft, rough—do you want to approach or back away? Torn, ragged edges say something different from smooth, worked edges—is it old, worn, experienced or new? Edges stop the eye or, if permeable or fuzzy, let the viewer’s eye roam past.

The way shapes interact at their edges can carry meaning. Look at Betty Helen Longhi’s brooch, “Second Blossom.” There is a small change at the edge between the sterling and the gold–some change of dimension, some in color. But there is a much more pronounced change between the gold and the purple anodized niobium. The darkness of the color exaggerates the edge and the apparent depth of the “drop off.” But from that difference in edge springs a pearl–symbolic of new growth. 

One of the most important shape edges in jewelry is the border of the piece, the place where the jewelry meets the air, clothing, or body. These edges are usually sharp and definite, framing the piece so that everything inside the edge becomes the subject when seen in the larger context of the body’s background. Edges determine where your piece ends, how large it will be.

So what’s your edge?

 

Retail Venues: Think Small and Special

 

Crowds browse at a Comic Con. Photo courtesy Devon Monk.

Crowds browse at a Comic Con. Photo courtesy Devon Monk.

Are you intimidated by trying to break into the same shows, the same online marketplaces that every other craft jewelry maker is trying to get into?

Without a doubt, there’s a lot of noise out there to cut through. But with a little creative thinking, you might find a venue open to craft jewelry makers that you could make your own. This is where knowing your story and knowing why people choose your work can be invaluable.

What do you love besides making jewelry? Can you tie that love to your jewelry? Do you love vintage clothing or Civil War reenactment? Are you passionate about wild animals, cats, dogs, horses, gerbils, chamelons? Are you a science fiction fan, a steam punk buff, devotee of the Zombie Apocalypse? Do you spend your non-jewelry-making time haunting knitting or quilting stores?

Darth Vader maneuvers though traffic. Who knew he was Scottish? Photo courtesy Devon Monk.

Darth Vader maneuvers though the Seattle traffic at the Emerald City Comic Con. Who knew he was Scottish? Photo courtesy Devon Monk.

Almost all special interest groups have their own websites, conferences, conventions, shows—and lots and lots of fans. Many of them would be open to you setting up a link or booth to share your work. You already know what makes these fans tick (you are one yourself). You speak the language, understand the concerns, and are familiar with the special niches within these groups. You know what colors, shapes, textures, images are popular among fellow fans.

How can you connect to your fellow fans through your jewelry? What can you give them that will allow them to show their enthusiasm for the interest you share?

If you can marry your jewelry making skills to another special interest of yours, you may never need to look at a mainstream art or craft show. Just one caveat: this is not something you can fake. Your audience will know. (Wouldn’t you?) It has to come from your heart.

 

Quote for Monday, August 31, 2015

Aside

“The point of being an artist is to make your own art, art that speaks about the things you want to say in the way you want them said. Any business decisions that lead you away from this are the wrong ones.”

Cay Lang, Taking the Leap: Building a Career as a Visual Artist

Storytelling with Shape in Jewelry Design

All the elements of design tend to have certain connotations to makers and viewers. Shape is no different. Rectilinear geometric shapes, for example, often create a feeling of something artificial, man-made, architectural, or structural. Some people may consider these shapes more masculine, intellectual, planned, thoughtful, or contrived. They may seem aloof, rigid, distant, stable, dependable. Such shapes may feel conservative—even the slang term “square” means out of step with the times. Continue reading

More on Figure/Ground in Jewelry Design

Being clear about which shapes or group of shapes is the subject or focus of a jewelry piece helps you direct the viewer’s attention to where you want it. If the visual weight of the figure (focal point) and the ground (background) are equal—in area, contrast, color, or texture–the eye can’t tell what the “subject” is.

You’ve probably seen the classic visual exercise used to help people see the relationship between the subject and background in a work. Continue reading

Retailing Artisan Jewelry at Shows

Naturally when you think of marketing your production line you have to figure out how to reach that market. You can get your jewelry directly to the wearer by selling it to her (or him) directly, through retail sales. You might also wholesale your work–sell to an intermediary who marks it up and then presents it to potential buyers. You can even do both. Whatever choices you make are going to affect the venues at which you sell your product, the support materials you need, the price point, and even may affect the product itself. Let’s look at retailing first.

Most jewelry makers start their careers by selling directly to friends, family members co-workers—the people who will wear their jewelry. When you want to step it up, you’ll want to move on to one—or several—of the venues open to retails sales of handmade craft jewelry. And there are lots of them. They include online venues, such as your own website or a marketplace such as Etsy, or face-to-face venues, such as home parties, street fairs, pop-up boutiques, co-op galleries, charity shows. But some of the most popular places to sell artisan jewelry are local, regional, or national art and craft fairs.

Retail shows are great places to sell production work. People who attend shows are usually open to being engaged by the unusual or whimsical. They are looking for something special, something that “speaks” to them. In addition, customers at shows are often predisposed to buy something. Because show visitors usually buy on impulse, you have a better chance of making a sale if your appealing product has an affordable price tag. And affordable and appealing is exactly what your production artisan jewelry should be.

Don’t leave your one-of-a-kind pieces at home, however. While your production line provides steady sales, you might find yourself selling your more expensive, one-of-a-kind pieces as well simply because you are on hand to explain your work and make a personal connection to the customers.

Unique or limited edition work sells best when the customer can talk directly to the artist. Customers at art and craft fairs want to hear your story. It is what makes your jewelry personal to them.

As you tell your story, and explain why the work is unique, you begin building rapport with the buyer. This builds trust–which makes shows a great place to take custom orders, too.

Retailing at shows involves expenses and planning. First, you have to forecast how much work you’ll need to take with you and invest in the cost of materials. There will also be the costs of travel—gas or airfare, hotels, and food, if you’re going far. You’ll need cases, signage and lighting. You’ll want insurance if you have concerns about theft. There are booth fees and commission fees to the show sponsor. Many shows are held outside so there is always the chance of being rained out, or unseasonably hot weather.

But selling retail can be exciting. You get to talk directly to people who love your work enough to buy it. It’s also a great way to get feedback on the work—what customers like or don’t like, what sells and doesn’t sell and to what audiences. All information you need to alter, improve or target your work more closely to your audience.

Positive and Negative Shapes in Jewelry Design

Shapes in design are never seen alone. They are always seen in relationship to the shapes or the area around them. This is because, at its simplest level, the mind sees everything as either/or. It puts whatever it sees into one of two general categories: this/that, friend/foe, dark/light, good/bad, edible/inedible, important/unimportant, and so on. Continue reading

Shape in Jewelry Design

Two terms describe the dimensionality of elements in jewelry: shape and form. Shape refers to the outline of a flat, two-dimensional area; form refers to the volume of space occupied by three-dimensional objects. Continue reading