A Site for Emerging Artists
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Do You Need a Mentor?
Nov 3rd
By Carolyn Edlund
“I’m too shy and lack the confidence to promote my work. I think I need a business partner to help me.”
“Where can I sell my work? I’m not sure where my market is, or how to find it.”
“How can I convince customers that they should buy my art? And that they should buy from me?”
“I’ve got a lot of ideas but am not sure how to go about making them happen.”
“Where can I find funding to make my dream a reality?”
“How does my product line look? Is it saleable? Where am I going wrong?”
These are some of the concerns I hear expressed by artists and craftspeople when they request a consultation. The inspiration and drive to create art is a strong pull, and many of my clients want to make a living doing what they love.
Seminars, webinars, telesummits, and meetings are wonderful motivators. Speakers invite participants to look at new possibilities and concepts. They help inspire creative people to feel great about their businesses, embrace new ideas and become wildly successful.
But what happens when you get back to the studio? How do you translate all that energy and inspiration into reality for your particular business?
This is where “the rubber meets the road.” This is the point at which you plan, set goals and put systems into place to grow and expand. Do you feel confident making this translation? Or do you need personalized input from a mentor?
Mentors provide a huge variety of services to mentees. Conversations vary widely. Does a product line work? Is it big enough, cohesive enough, different enough from the competition? How to market in a way that makes sense and reaches the right potential market. From writing business plans to earning referrals, artists who are entrepreneurs need lots of information.
A mentor can be a friend who is experienced in the business, a member of your guild, a volunteer or a professional coach. Make sure you can work together and feel that the other party has your best interests at heart.
A good mentor will provide the following:
- A personalized approach that addresses your needs specifically.
- An unbiased opinion on your body of work, and a willingness to be honest about what they perceive as working and what needs more development.
- An evaluation of your strengths (you already know your weaknesses).
- An assessment of challenges you have to reach your goals.
- A plan to reach those goals, broken down into steps which are realistic considering your schedule and time needed to complete them.
- Your mentor should ask you to be accountable to them for completing goals you have set. When you run into problems, your mentor will act as a sounding board.
- A “reality check” if you become overwhelmed or feel you are getting off course.
- Encouragement, reinforcement, and ongoing planning to move forward with your business.
In a recent interview about their new book “Starting Your Career as an Artist”, authors Angie Wojak and Stacy Miller state, “Mentors are critical for success. No one does it on their own.” They consider the mentoring relationship, along with being part of a creative community of artists, and regular studio practice, as the basics of a successful art career.
Have you had a mentor? Who inspired you most as you pursued your business as an artist?
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Use Video to Enhance Your Art Career
Oct 29th
Terence Donnellan
Are you serious about your art and eager to take your career to the next level? Consider having a professional video made. Terence Donnellan of Artwork on Video in New York City offers these services and recently discussed how a professional video can enhance an artist’s visibility and increase the possibility of sales
Terence is usually able to film a video in a day or two, but editing can take a week or two. A typical video may have a running time of 10-15 minutes. His business is just starting up, so he is willing to create a professional video for about $1,000.
Terence mentions that some of the top New York galleries now show videos of their artists on their websites. While open to all artists, he prefers to film artists who may not be well-known to the general public, but who have been working diligently for years, have a wide-ranging body of work, have had gallery shows and press, and who may be the blue chip artists in the future.
The videos contain footage of the artist working in the studio, and sometimes in preparation for a show, but the heart of the video is the interview where the artist discusses his or her work. The medium is becoming more and more popular on websites.
It is easier and more relaxing to watch and listen to an artist speak about his or her work than it is to read an artist statement or resume. Additionally, videos create lasting impressions – in a world where tens of thousands of images are available online to users every day, a video can stand out and capture the attention and imagination of the viewer.
How can a professional video be useful in your art career?
- An embedded video on your website will give viewers a fuller picture of you as an artist
- Showing your video during an art exhibit communicates your inspiration and your techniques, and allows visitors greater insight into your artwork, thus encouraging purchases. The gallery can give a DVD to interested collectors, or even sell them, which will broaden your audience.
- Want to get yourself noticed when submitting to galleries or museums? Send your video along with images and other materials. Galleries often have videos of the artists they represent. Sending a video illustrates your understanding of the art world, and shows you are serious about your future as an artist.
- Submit your video to art sites such as Start Looking to introduce yourself and your work to the public, to other artists, and to art professionals.
- Send a DVD as part of your press kit to grab attention while communicating valuable information.
- Post your video on Facebook and other social media sites. Using apps like Wix, you can customize your page to give it a more impressive appearance, which will bring more traffic to your site. Thus, increasing the possibility of sales.
- Videos document your growth as an artist. Artist change over time. The work you do today will probably be different from what you do five years or ten years from now. Videos allow you to capture who you are now. Imagine, for example, how fascinating it would be to watch videos of Picasso as he went through his many changes as an artist. You have a chance to capture your own changes, for yourself, for the art world, and for your family and friends.
- Applying for a grant? A video can be an important component of your application, making you seem more professional and inspired than your peers, thus increasing your odds of success.
- Looking for a teaching job, or even commissions? Show yourself as a true professional by allowing your video to represent you in addition to your CV.
- “Invite” the public into your studio by allowing them to watch a video of you working. Knowing who an artist is extremely important to most savvy collectors. Artists are different from others. They feel strongly enough about the world that they want to show the beauty of it through their art. Viewers appreciate this. They want to learn from you and be able to understand what you do so they can share this with others. A video is a great way to start that conversation.
Are Art and Craft Fairs Dying?
Oct 21st
By Carolyn Edlund
I don’t often go to art and craft fairs anymore. After exhibiting at so many of them back in the 80’s and 90’s, I’ve become very jaded. I can’t be subjective, and frankly wish that I could see them as the public does, and enjoy them more.
So a few weeks back when I walked through a show where I had sold my work years ago, it was a bit surreal. I also found it to be a little tired-looking and sad. The show (which has a good reputation) has shrunk considerably. Quite a few of the exhibitors there have been in the business many years and I recognized several of them – a bit grayer, and still selling the same merchandise they were making twenty years ago. Although the quality of the work for the most part was high, there wasn’t much new – and there weren’t many young artists there, either.
On the other hand, I interviewed a twenty-something artist the other day who has been showing at elite shows and literally selling out of her high-end merchandise. A new breed of young DIY artists and craft enthusiasts have arisen and are organizing and promoting their own shows which are enthusiastically received.
Art festival website forums are filled with artists and craftspeople frustrated with the state of art and craft fairs these days. They are complaining about the amount of buy/sell merchandise that has been accepted by promoters and continues to undercut and diminish the fair experience.
So, where are you on this spectrum? Are you selling retail at fairs and shows and routinely angry about the circumstances? Do you do your homework and walk a show ahead of time, finding out what’s really going on?
Have your regular shows gotten a bit thin, with the quality becoming questionable? Or are you applying to top-tier shows where you feel protected from infringements on the rules, and where only truly handmade work is exhibited?
Perhaps you’ve gone the way of many artists and craftspeople who have decided to leave the show circuit and try other ways to sell their work. You may have even joined the ranks of artists who are unemployed (artists are unemployed at twice the rate of professional workers).
Art and craft fairs are in a state of transition, like many types of commerce and many industries. In these tough times, I have not found evidence that creativity has faltered – in fact, I believe it’s flourishing. I don’t believe the fairs are dead yet, but will transform. What’s your take on this?
Brilliant Idea Increases Art Studio Income Dramatically
Oct 13th
By Carolyn Edlund
Are your sales down in a tough economy? Here’s what one art glass studio did to attract customers and put their business into overdrive.
Brenda Griffith
While the economy was slowing sales for many businesses in 2010, the owners of Siyeh Glass in Atlanta, Georgia came up with a concept that made them one of the most popular destinations in their city. Brenda Griffith of Siyeh explains in this video from a discussion at the Buyers Market of American Craft how they created and publicized “Date Night” at Siyeh.
Date Night is an opportunity for couples to have a “unique experience” on a date by spending several hours with a private instructor, learning glassblowing and kilnforming in a working glass studio. It has become so popular that each week is often booked up with about 22 couples attending (at $165 per couple).
Due to demand, studio space has been increased to accommodate more visitors, and new staff was hired. Griffith states that interest runs the gamut through all demographics, and that they sell out frequently.
Dates can be scheduled Thursday through Saturday, in the morning, afternoon or evening, and is usually only one couple for each time slot. Beverages and “nibblies” are provided to enhance the experience, and plans have been made to purchase a soda stream machine for carbonated drinks without creating container waste.
Couples are encouraged to bring their cameras, as one person will be blowing or forming glass while the other observes and can snap photos.
Siyeh Glass is a production studio which wholesales to galleries, and doesn’t normally retail their art glass, but they do sell supplies and offer classes. An artists’ 10-day open house event happens each year, called “Siyeh Sleigh Ride” where art from everyone working at the studio and their friends are sold to the public.
What’s next? Brenda Griffith mentions “team-building events” where groups from the corporate world or other organizations come to the studio to gain skills in working together as teams. This new strategy promises to make the studio more popular than ever.
Interview with Greeting Card Designer Kate Harper
Oct 9th
Kate Harper
Kate Harper is a well-known greeting card designer, with lots of experience and a wonderful blog for card entrepreneurs. She speaks about how her business developed and what she sees next for the industry.
AS: Kate, you made a major adjustment to your greeting card line when working with a helpful sales rep. What happened and what did you learn?
KH: I’ve been through several adjustments, but in the beginning one rep recommended I make my cards brighter colors and to think about what the message communicates when you look at the picture, even before you read the words. Reps also gave me feedback from the stores such as “people don’t get this joke” or “no one likes that card because it’s green” or “even though the sentiment is true, it’s depressing.”
AS: Could you talk a little about how transitioning from making your own handmade cards to licensing has changed your business and your life.
KH: It was a difficult decision to leave manufacturing because I had several people who depended on me for an income, but my business was growing to the point that I would have to relocate the studio and hire more staff and I really didn’t want to do that. For me, it was a lifestyle choice.
For fifteen years I ran a full time card publishing business, servicing thousands of stores and worked with over 100 sales reps. I felt lucky and blessed to be able to create designs and sell them and make a living from it, but I also found my life revolved more and more around packing and shipping cards, and very little to do with art.
Then I took a class with Cheryl Phelps on Art Licensing and my mouth fell open and it has been open ever since. I never realized art licensing even existed.
Life is completely different now, since I can do art full time and I have a lot more free time. I know some people say getting into art licensing is difficult, but I didn’t experience it that way. Perhaps because when I approach a company I bring a lot more to the table than just art skills. I bring 2,000 of my former accounts, sales statistics from my business and a background in the gift industry. I also understand what is involved in manufacturing a product, so it’s easy for me to put myself in the shoes of another company when they come up against challenges or misprint something. I try not to be too picky, because I know how incredibly difficult it is to match colors and make affordable products.
AS: Saleability is key to having a successful card line. What do you consider the most important factors in making a line saleable?
KH: The measuring stick I always use when evaluating my own cards is “Would I pull money out of my wallet right now and buy this card?” I also visualize a friend and imagine receiving or sending this card to her and asking myself: “How does this feel to send to her? Is it too weird? Is it condescending or unintentionally insulting?” Also, my silent motto to myself is “If you can make people laugh, you’ve already sold your product.”
I do abide with the greeting card standards that the image is the most important, because it causes the customer to pick up the card on the rack. Therefore you’ve got to have a strong image that evokes an emotional response.
AS: What do you see as the biggest challenge for greeting card entrepreneurs today?
KH: The card industry is suffering, no one can deny that. But I also have been working with companies who are redefining the meaning of what a greeting card is, such as Fiddler’s Elbow. I recently worked with them to develop a line of “Card Towels” – towels than can be sent as greeting cards.
I also am working with a second company on a similar concept (but different product) where the traditional me-to-you relationship is being adapted to a gift item in place of a greeting card. I see a strong future in the explosion of apps and ebooks and redefining what a greeting card is, in those contexts.
For example, on my own, I’ve been working on some concepts for Greeting Cards for the Kindle, I call “Kindle Cards.” My idea is to develop cards that can be sent to a friend’s Kindle, which is a completely different (and more positive) experience than receiving an e-card in an email. If you use a Kindle, you’ll understand why.
The good news, from my observation, is that the Handmade and alternative card business is doing OK and I’ve had a rep confirm this recently. I also have a friend whose $6.00 greeting cards keep selling out in a local store.
This year, when I went to the San Francisco Renegade Crafts Fair, people were standing in line to buy funky cards and gifts. This tells me that people still love to touch and send things. We just need to meet them in the places they want to be. That’s why I think trade shows should redefine what they are also.
A greeting card sales rep I know here locally whom I worked with for over a decade has a great idea for moving gift shows into a new generation, which is to change them to a format like the Renegade fair.
If you allow designers in at more affordable prices, in a funkier, unsterile modern setting, you are going to attract more interesting vendors, products, younger buyers and more buyers overall. Also, if you have this type of show in a variety of metro areas, they can start to reflect individual design styles from different parts of the country.
Featured Artist Julia Hacker
