Sharpening the saw...

Nope, not my jeweler's saw, although it's been getting a workout.

Sawing, sawing, sawing and more sawing.

One of my goals for this year was to take a drawing class. I've always believed I'm talentless in the drawing arena, but some of my AJE team members convinced me that drawing - which includes the process of learning to see things differently - is really a learned skill. So with their encouragement, I decided to take the plunge. Sort of.

Instead of a drawing class, I decided to take a beginning painting class with our Roadhouse Arts acrylics instructor, the very talented Stephanie Davis. Best of all, my husband Nick is taking it with me too, so we get some creative time in the midst of of a very busy season of our lives.

It's been an interesting process over several weeks. As has been the case for centuries, beginning painters learn by copying work done by other, more experienced painters.

One of my favorite artists, JMW Turner, started out copying old masters before he found his own style.
(photo source)

But before we could get to the "good" stuff, we spent an entire class (and in my case a number of hours of homework afterwards) creating color charts. The idea was to introduce us to the basic concepts of color theory and then give us a chance to experiment with some of them. It was also a crash course in color mixing, learning all about the colors in our respective palettes. I honestly found this exercise fascinating.

Among other things, I learned that a little bit of Phthalo Blue (with Green Shade) goes a very, very long way.

With that under our belts, we set out to find still lifes that appealed to us. I chose this pretty mixed media piece by Maria Pace-Wynters.

Blue Poppy Garden 2, a mixed media piece by Maria Pace-Wynters
(photo source)

Stephanie told us that for our versions, we were only allowed to use two analogous colors and whatever secondary colors they create. And she also told me to simplify the background, which was a relief, because this gorgeous background is far beyond my ability to duplicate.

It doesn't come close to the original - and as you can see, it's also not finished. I am in awe of the other students in the class, most of whom are able to finish their pieces in less than three hours. I am not one of them. Hopefully I'll get to finish it once my BeadFest adventure is over - I want to do a little more with the background, and I can't get the color right for the little chysanthemum in the corner. But it was a fascinating exercise into how to "see" differently and how to establish an effective communication between my brain and my hands so that I can recreate what I'm seeing.

I did much better with my second project, although it is also not finished. The assignment was to take a simple two-subject still life and recreate it in different colorways to evoke four different emotions: happy, somber, calm, and sweet. I picked this simple, cheerful still life by Pam Van London:

[photo source]

In some ways, this project was more successful - I started with "happy" because the original was so bright and cheerful, and I think my pears actually look like pears. But in other ways, this project was extremely stressful - making color choices for the other moods was very hard, and you can see how far I've gotten with it.

Learning to create "volume" was eye-opening. I've very proud of the fact that my pears actually look a little like fat, round pears!!

Again, other students in the room whipped through the assignment and left with mostly completed pieces. I ended the evening feeling half proud (round pears for the win!) and half disgusted (they're only colors, for heaven's sake!) which probably means I was overthinking the whole thing.

Because of the work I'm having to do to get ready for BeadFest, I'm going to miss the rest of the classes this time around - but I'm planning to take the workshop when it's offered again in the fall. The introduction to color theory has been fascinating, even though I'm at the place where it's still more mystery than edifcation at the moment, and I am very encouraged by the (admittedly intermittent) ability to look at something and evaluate it with an eye towards replicating it. As someone without a formal art education, this has been kind of a big deal. (Plus: according to my bio, I have "an emerging interest in mixed media" and I am loving playing around with color combinations. I might even revive a bead colorway project I dreamed up a few years ago!)

Already, I've been able to put some of that newfound sensitivity to color to good use. I resolved a couple of layout issues for recent advertising pieces that was heavily influenced by incompatible colors, and I solved a design issue on a recent jewelry piece that turned out to be related to the color of an accent stone I was trying to use. I may have eventually gotten to the same place without knowing why or how, but being able to be more intentional in that process was a win.

So I'm sharpening my "creative saw" with pursuits that have nothing to do with my main focus of metalsmithing and jewelry-making, and already I'm liking how it's sparking new thoughts and new ways of looking at what I do. How about you? What are you doing to keep your creative saw sharp?

Until next time -

Consignment: Some Do's and Don'ts

Like most of you, I'm a member of a number of online forums that talk about various aspects of creative life, everything from the business side of things to more technical how-to's. One question that crops up often is whether and how to put one's art into brick and mortar shops on consignment. Since I am both an artist and a gallery owner, I thought I'd put together a few tips for anyone who might be considering going this route.

What is consignment?

It's important to understand what the consignment arrangement entails. You retain all ownership of your work, which you temporarily loan to the gallery or shop for them to sell on your behalf. When they sell the piece, they pay you the sale amount, less an agreed-upon consignment fee to cover their operating costs. This arrangement is not the same as wholesale selling, where you are paid up front for your work for a price less than what you would sell it to the general public.

What are consignment fees?

I've heard a lot of people say in online discussions that they think consignment fees are a rip off. I get it: you've worked hard to make something lovely and giving 25%, 40% or even 50% to a shop to sell it for you feels painful. But with so much of the jewelry market having moved to the virtual world in the last few years, it's easy to forget what goes into the traditional sales model, starting with all the overhead. A gallery pays rent and utilities, maintains a website, sends out emails and promotions, pays advertisers, and pays staff, taxes, and insurance. They do that before they have sold a single item, which then incurs credit card fees and packaging costs (even if it's just a small shopping bag). If you were going to sell "in person" (as opposed to online), whether you were selling at a market venue or opening a store of your own, those are all expenses you would incur on your own. Those expenses would, in turn, either increase your per piece price or reduce your overall profit. Either way, they'll cost you something in the form of booth and credit card fees, packaging, displays, transportation to and from, and - potentially - loss from theft.

The Roadhouse Arts Gallery, all decked out for the holidays. Everything you see is consigned to us.

How should I pick a consignment partner?

More than any other thing, I think this is the most important decision. It does you no good to have your inventory (read: dollars) tied up where it will not sell. Here are some of the top questions you should be asking when you're evaluating potential consignment partners.

1. What is their target market? There is a difference between a fine art gallery, a gift gallery, and a fine craft gallery. I am not saying that one is better than another - but I am saying that they work within different price ranges and target different clientele. Does your work fit the overall "vibe" of the shop? Is the work by other artists of comparable quality to yours? Where do your prices fall in the overall offerings of the shop? For example, if you are a maker of boho chic jewelry, you probably don't want to be in a sleek, modern shop with lots of steel and glass. If your work generally sells for $200 and $300, you don't want to be in a shop where they mostly sell things under $100.
2. What are you getting for the consignment fee? One of the commenters on a recent forum discussion told a story about a gallery that wanted a 40% consignment fee... and she was responsible for coming in and cleaning her jewelry to make sure it was presentable. Let me be really clear here: any gallery or shop that doesn't attractively merchandise your work and keep it clean for their customers doesn't deserve to have your work. Period. The consignment arrangement is intended to be a win-win for both artist and shop - you are providing quality inventory at no up-front cost to them, in exchange for which they offer you an appealing, professionally managed storefront in which to sell it and access to their customer base. They should also be handling credit card fees, packaging, and displays.
3. Is there a contract? Never, ever, under any circumstances, do business with a gallery or shop that won't put your agreement in writing. Ever. Make sure you are very clear about what is covered by the consignment fee; how often you can change out your inventory; how loss by fire or theft will be handled; when you will be paid for sales; and who is responsible for paying transportation of the goods to the gallery or shop and back to you. Make sure someone at the gallery signs off on a written inventory of the items you deliver to them, so you have something for your records. Ask how often you can get an updated inventory from them of the things they still have on hand - and then make it a priority to compare that list with the sales you've been paid for so you can catch any losses early in the process.

An early glass display at Roadhouse Arts, featuring work by Lisa Meyer and Gail Stouffer

What if I can't afford to pay a consignment fee?

I recognize that pricing is a touchy subject, but I'm going to wade in and be as direct as I am able: most makers of high-quality jewelry aren't charging enough for their work. And here's why: because they are undervaluing their time. There are all kinds of formulas out there about how to calculate your pricing, but at a minimum your wholesale price needs to include something for your materials, your time to produce the piece, and profit. Yes, profit. If you sell wholesale - or consignment - you need to be able to make a profit on the wholesale price. How many times have you heard (or said yourself) something like, "I don't care about my time... as long as I make a little something more than the cost of the materials." Two things: your time has value, and profit isn't a dirty word. If a 40% or 50% consignment fee means you won't make any money on your piece, it may mean your pricing is too low.

That said, I recognize this easier said than done. You obviously have to keep the market in mind as you're selling. If you're just starting out and you don't yet have a workflow in place that lets you capitalize on efficiencies or repetitive processes, your pieces will have more time in them - and that will make them more expensive. Focus on creating designs based on techniques you have down cold, so that the cost of your time doesn't skew the end cost of the piece, either on the high side or the low side.

One other comment on pricing: never, ever undercut your consignment pricing. What your pieces sell for at a consignment shop or gallery should be exactly the same price that same piece would sell for online, at a show, or off your bench. Remember that when you sell through a consignment shop, you're saving costs you would pay if you sold it yourself: packaging, credit card fees, postage, listing fees, promotional discounts, etc.

What if things go bad....?

Take a deep breath, keep your cool, and stay professional. Every consignment agreement should have a duration - your things stay with them for 90 or 120 days and then everyone touches base to see if it's working. If the sales aren't what you expected, have a conversation with the owner or manager about what is selling and see where your things line up. Is it a price issue? Style? Quality? These kinds of conversations can be really valuable, because they can be (can be) objective feedback that will make you better in the long run. That said, if the shop isn't keeping up their end of the agreement - the displays aren't being refreshed, your jewelry is dirty or untagged, you aren't getting paid, whatever - pull your stuff.

And... make absolutely sure you're doing your part. Do your pieces reflect your best work? Is it being delivered when and how the shop or gallery has requested? Are you responding promptly to requests for information or more inventory?

* * * * * * *

This is the tip of the iceberg - there are obviously many details I haven't covered here, and honestly... consignment isn't for everyone. I took an unofficial poll of my AJE teammates before writing this post, and they were about evenly divided between happy experiences and horror stories. Remember to never put all your eggs in one basket - the trick to making a living as an artist is to develop and maintain multiple streams of income. Consignment is just one element of a long-term business strategy. Hope this brief summary was helpful!

Until next time -

What are these "resolutions" of which you speak??

I don't do resolutions. Resolutions make me crazy, mostly because I can never, ever keep them. Ever.

via Pinterest

via Pinterest

I'm pretty sure I'm not alone in this, right? Who needs the extra pressure and opportunity to feel worse about oneself??

However...

If 2014 was any indication, I definitely need to slow down and take some time to not only do a better job of planning but also do a better job of working my plan, whether that's at home or in the studio. If that's a resolution, then I guess I'm making one... and the more I thought about it, the more I decided I was going to need some help.

First up: planning for my income in 2015.

Maybe this seems like a no-brainer to some of you, but I didn't sit down last year and really examine my goals for each income stream I'm working. So I put together a spreadsheet that breaks down where my income came from last year and where I want it to come from this year. That's helping prioritize where I spend my time and focus.

This was super simple to set up in Excel, and for every line item in this summary I have a planning tab that lets me work through the details. For the 2015 columns, I set it up so I can plug in a bottom-line income number on the total line, and then shuffle the numbers around in the goals section to play with percentages. This particular exercise has been really eye-opening - as it turns out, some of the things that take up the most amount of time haven't been the most lucrative. Being more efficient with my time and energy seems like a logical thing to move to the top of my priorities list.

So: creating efficiencies comes next.

Again, this may seem like a no-brainer, and having spent so many years (decades) in the business world, I was honestly surprised that I was struggling so much with this. In fact, it wasn't until I had a conversation recently with my friend (and business partner) Gail Stouffer that the light-bulb went on. I kept referring to all of this in the context of my "creative life." She said, "It may be your creative life, but it's also your job."

source

Oh. Right.

So I'm implementing a few new "rules" to help me think of my creative life as a job. First, I'm only going to take my laptop into the Roadhouse Studio one day a week. I can pick an hour to handle emails and stuff from home either before or after studio time each day, so one day a week should be PLENTY to do the necessary admin stuff. If my laptop is in the studio with me, I tend to get distracted from the work of "making" that I really need to be doing in that space. 

Second, I'm going to try out some new tools to help me manage my blogging and website tasks more proactively.

Do a Pinterest search for planner printables and you'll get a ka-billion pins to wade through. I found two that looked interesting to me (here and here) and printed out only those pages I thought I'd really use. Mondays are usually the day I update my to-do lists, and since I tend to be more analog than digital about my planning, these printables will give me a place to do my jotting. With three websites to keep updated (mine, Roadhouse Arts' and - soon - my husband's) and three blogs to write for (mine, Roadhouse Arts' and here at AJE), I really need to do a better job of planning and researching updates and contributions.

(As an aside, I do use Asana for my to-do lists and I highly recommend it. Once my plans are finalized, I update my projects online. This is especially helpful for long-term projects and it's essential for teamwork. Gail and Lisa, my Roadhouse partners, can see all my Roadhouse-related tasks, comment on them or ask questions, and see when I've completed or updated things - and I can do the same for theirs. It's been a huge help in reducing emails, confusion, and duplication of effort.)

Finally, keep learning.

Barbara Minor at Roadhouse Arts, December 2014

I am so very, very fortunate in that I get to participate in deciding which guest instructors get invited to Roadhouse - and who I personally would like to learn from often pays a huge part in the suggestions I make to my business partners. I love learning from other artists, don't you?? Last November, I spent a week in the home studio of metalsmith Melissa Muir and in December, master enamelist Barbara Minor spent three days at Roadhouse. I came away from both experiences completely fired up and creatively refreshed, and December was maybe my most productive time all year. I didn't do enough of that throughout the year.

In 2015, I'm going to have the great pleasure of working with and learning from Melissa Muir and Connie Fox at the Roadhouse Retreat, followed closely by two Roadhouse workshops with Robert Dancik. I'm such huge fans of all three of them that I'm a little giddy at the prospect! (Want to join me? Head over to the Roadhouse Arts workshops page for more info!) And I'm teaching at three national venues this year - teaching is always a learning experience for me, as I work to create projects and an experience that is positive for my students, so I'm counting all three in the "learning" category. (More info about those opportunities will be posted over on my personal blog soon!)

So that's where my reflections on 2014 have brought me. What about you? It's hard to believe January is nearly half over already - where are you focusing your energies? What are your plans for 2015?

Until next time -

Tutorial: Simple Twist Chain

I love making handmade chain - it can be time consuming but it is oh-so-rewarding when plain wire turns into something wearable. It's like magic. And nothing sets off a beautiful focal or art beads (or both!) like custom chain that is funky, rustic, or unusual.

So today, I thought I'd share the simple steps for turning some copper wire into a twist chain. (Disclaimer: you'll want to ignore the dirty hands with ragged nails in desperate need of a manicure. I work with metal, people!) 

Here's what you'll need:

• 14 gauge copper wire
• 16 gauge copper wire
• A bench block
• A chasing hammer
• A nylon hammer
• A metal punch
• An awl
• Heavy duty flush cutters
• A jump ring mandrel
• Sandpaper, various grits

Cut 1-1/4 inch lengths of 14 gauge copper wire. The number of pieces you'll need depends on how long a chain you're making, but I usually start with 16 or so. (One or more of them will wind up going into the reject pile, so more is better.)

Make sure each length is completely straight and the ends flush cut and sanded smooth. TIP: in order to straighten short lengths of large gauge wire, start by gently hammering one end with a nylon hammer to get a flat section started. Then use the forefinger of one hand to gently roll the wire back and forth as you hammer it. Flip the wire over and repeat to straighten the other end.

Do this for all your wire pieces.

Using your chasing hammer, forge a flat paddle on one end of a piece of wire. TIP: to get an even paddle shape, make sure your hammer face is striking the wire at slightly less than a 45 degree angle. Turn your wire over every few strokes to help keep the wire from curving to one side.

It will also help to make a very slight stroking motion outward with the hammer face at the end of each strike. I tried to take a photo of this, but it's nearly impossible so try imagining you are beating an egg... but backwards, away from you.

The paddle should extend not quite halfway up the length of the wire. When you've hammered the paddle on one side, flip your wire around and hold it with the paddle vertically. Hammer another paddle on the other side of the wire - notice that because of how you're holding the first paddle, the second paddle is at right angles to it. This gives the wire a twisting appearance.

Sand and smooth the paddles on each end of your links. Don't be discouraged if they look a little ragged when you first finish hammering them - any irregularity in the end of the wire at the start is going to translate into the forged shape and it takes a lot of practice to get your hammer strikes in the right place, but they're easy to reshape with the sandpaper.

When all your wire lengths are cleaned up, punch a hole in the center of each end. Depending on what kind of punch you use, you may end up with a burr around the edge of the hole. The easiest way to fix this is to use the ball end of your chasing hammer and gently tap the center of the hole a couple of times.

Then make a series of jump rings from the 16 gauge copper wire - the jump rings can be as large or as small as you'd like, but remember that their size will change up the overall "feel" of your chain. (Smaller jump rings will feel more traditional, and larger will feel more modern.)

Use the awl to enlarge any hole that doesn't allow the jump ring to move freely - you want to make sure the chain won't get hung up or twisted because the ring can't slide smoothly through the links.

OPTIONAL: If you have a tumbler, string all the paddle links on one piece of scrap wire and all the jump rings on another. Twist the ends closed and tumble for an hour - this step isn't essential, but it will clean and burnish your components before connect them.

Then, join the components together and add a clasp of your choosing. Voila! You just made a custom chain - wear it as is or add a focal.

Hope you enjoyed this little tutorial!

Until next time -