Taming the Tangle

What's all the buzz about?

Kim Caisse of Bee Design and I caught up last October at the Historic Shaw Art Fair... quite a treat since we hadn't seen each other at a show in about 3 years. It turns out we each radically changed our show schedules for similar reasons.

Kim crouched down behind some of her asymmetrical earrings. She is so great at creating interesting color combinations. All designs ©Kim Caisse

We used to see each other twice a year at the Philadelphia Buyers Market, a wholesale show geared towards buyers looking to stock their stores with American-made craft. The tricky thing with wholesale shows is that you get known and categorized for a certain style and look, yet we all want to explore new directions and continue to grow as artists.

More asymmetrical earring designs! Gotta love the fun shapes and colors. These types of flat, abstract designs are what Kim has been really known for over the years. All designs ©Kim Caisse

Some people handle this in different ways. It seems that each Kim and I felt a desire to step away from that sales venue (temporarily we assume) so we could expand artistically without the pressures to strictly adhere to our styles that we show. Not that either of us has radically changed... Kim still creates ceramic and silver jewelry, and wire is still my main medium.

 

Kim creates some of my favorite bumpy pieces ever! These hoops are too fun. They are a great sample of her dimensional work. ©Kim Caisse

Yet there's a freedom to creating and exploring without wondering how something fits in your line, will it appeal to the same buyers, can it be displayed and marketed the same way. How can I emerge fresh and capture new attention again? Sometimes an artist just wants and needs to create without the constant judgement.

New directions can also generate fears... does the new work step on someone else's toes or cross into their territory? Will it sell? Does it fit into my style? Will people see that new artistic growth positively? etc.

Kim has created a line of the cutest pendants ever! They are a new foray into representational designs. I was torn between a skull with rhinestone eyes and this rocket... which was more emblematic of my theme for the year (blast off!). My snapshot does not do it justice. ©Kim Caisse

To see more of Kim's work, visit her Bee Design Etsy shop, which is fairly new, so if you see something here that's not in her shop, message her through Etsy for more information. All prices in the photos are from 2011 and are not guaranteed. Her shop also has super cool ameoba soap dishes!

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As a side note, I just had a tough learning experience.... I have the habit of writing my blog posts directly into the Typepad editor, which does not have an auto-save function. When I thought I was closing another window, I accidentally closed the window of my original post and lost the entire thing. This post was originally longer and more detailed, but I didn't have the energy (or memory!) to re-create that. I've even taken classes that tell you to write and edit your blog in a word processing program... only bring it into the blog editor when you are ready to add links and post. This is a painful first... I plan to change my ways after this experience!

Why did these earrings take more than a year to make?

Yesterday I finished a pair of custom earrings that have taken me more than a year to complete. This is ridiculous, and I'm lucky that I have a very patient, artist-supportive patron. So, I'm opting to celebrate rather than feel guilty.

In that 1-year time span I have moved my home and studio, worked through artist blocks with The Artist's Way program, taken classes, done more than a dozen art fairs around the country, moved my mom into a nursing home, filled orders, finished other custom pieces, and done lots of fun stuff too... yet none of those things specifically points to just why it took me a year. So, I'm going to explain it a little bit just for fun.

Here's where the conversation started:

Client: I'd like a pair of clip earrings in your anemone series, like the Gradient Anemone Ring you created.

Me: Okay! I've never done anything like that, but I'm sure I can figure it out. It might take me a while.

Gradient Anemone Ring, photo by Larry Sanders, ©2012 Kathy Frey

That's not an exact, verbatim transcript of our conversation, but it's pretty close. I know from my very own experiences, that I should write out for myself the steps I think the project will require, estimate the number of hours as a range, and then estimate the cost also as a range, and then get a deposit to start the project. These steps are ideal because they make everything more concrete. They are essential for any project, whether doing website updates or creating custom jewelry.

The other thing that's just one of my personal FEAR creators, is that the client sent images of some other jewelry of similar designs but totally different mediums. This starts a fear reaction for me because I've been accused of copying other artists' work even though I rarely look around at a lot of other work... I've found it's the kiss of death for me and opens up the pits of despair because I feel like everything has been done and my vision is not unique. This fear reaction is not something I realized until taking The Artist's Way class... I don't have the perfect solution for fighting it yet, but I do know just to push on and keep working rather than be paralyzed.

So, right off the bat, I'm afraid and have a vague project that on the surface seems easy enough yet has no deadline. I did do some work up front because the client wanted a coating on the wire to help preserve the gradient patina. I'm shocked that even a year later I'm still learning pointers. I did opt for a light lacquer, and I want to explore other lacquer options and even the possibility of wax for certain pieces, yet I know from many experiments over the years that I need to maintain the structural integrity of the pieces and prevent webbing between the wire wraps.

The other technical challenge was to master soldering clips. I practiced by making other simpler designs for this same client so she could test them out and let me know which clip styles she prefers. I learned a lot about soldering spring mechanisms... they cannot have heat! So that led to exploring cool gels to use during the soldering process (which I much prefer to disassembling the mechanism... so hard to reassemble!).

I also made the mistake of not sketching concepts of my own. I kept mulling over how other artists had tackled clip earrings and realized that I didn't have the know-how to do what they did. This is okay! I'm self taught and always try to come up with interesting design solutions on my own... I'm a trained designer after all. My problem was mulling this over rather than putting pencil to paper. Anytime I make something concrete, I make much more progress. When I actually did sketches, my confidence returned, yet I knew more experiments were ahead of me.

Sketches, no matter how rough or basic, get you out of your head and into reality. This shows a couple of my concepts.

I knew I had to figure out how to group the branches together with something more substantial than wire (which was what I did for the ring and other pieces in this series) because I needed to solder it to a clip.

Based on my sketch (the bottom one... way more aesthetically pleasing), I was able to do a simple paper mock-up. This helped me to figure out other supplies and tools I would need: specifically a doming set and silver discs (the paper mock up helped me to figure out the size).

I still wasn't sure if I would be able to make the cone from sheet metal, so in the meantime of buying supplies/tools to experiment with, I made an Artist Date with Suzanne Himmler of Riverwoman Design who was willing to teach me metal clay... I wanted this as a backup medium for forming the cones. I even made a sample of the shape I wanted in bronze clay... way too heavy for earrings but good for me to play around with (and a more accurate model than paper). I knew I could make them in silver clay if needed.

Bronze clay cones, essentially a 3D sketch... and a fun artist date.

Another fear thing gets triggered for me... for some reason I have a hard time playing in the studio and trying new things that may or may not work, so my doming set sat in the box for months! How embarrassing is that? I really do want to play with it too... it's such fun to make metal dimensional. I seem to put pressure on myself that I need to be able to sell everything I make... this is not conducive to trying new things and entering new territory... so I'm working on that. A lot of times it means playing in copper and other less expensive metals than silver, so that's where I will head next.

This photo served as proof that I finally had the earrings underway. It was also a good reality check... I could finally supply a cost estimate based on time (I did not charge for learning and tools along the way since those are things that will benefit me).

Making the branches themselves was the easiest part because this is comfortable territory for me, yet I had not made tiny branches in a couple of years... they take forever! For custom work, I time myself so I know exactly what to charge. At this point (about a year in) I finally contacted the client with a snapshot of the progress and an estimate to make sure she wanted me to continue with the earrings and take them to completion. I had been in contact several times, but not very often... it's hard to believe it took me so long to get an estimate and explain the concept approach.

The good news is that the project was a go! So I wrapped, applied patina, and then the real procrastination (ha!) began when I had to face working with metal and soldering... still what I perceive to be a weak point in my skill set. Some day I want to splurge and take an intensive either at Revere Academy or an art camp such as Penland.

Applying the gradient is stressful, especially on small pieces, yet it's still one of my favorite processes since I never know exactly how it will come out.

And by the time I was moving on the project, it was also time for me to head on the road for a month of shows. I tend to have bursts of motivation before a big deadline yet run out of time to finish all the projects... hence my desire to cut down on travels but how will I motivate myself without those deadlines? A conundrum I'm willing to tackle.

For the final push, this week I told myself I couldn't work on inventory for upcoming shows until I had 2 custom orders done, this being one of them. I have a lot of new designs that I'm itching to explore (some of them involving doming), so I decided to just force myself. Once I'm in the studio and creating, fear falls away. One piece had to go in the scrap bin, but that's just part of learning... it's no biggie. And I gave myself a goal for finishing... the weather has turned absolutely gorgeous here, so I told myself in the morning that if I finished the earrings I could go play a round of disc golf later in the afternoon. Yesterday I went out and played a great round because I had the guilt off my shoulders.

And today I mailed these earrings to the client. Now I just have to eagerly anticipate her feedback... hopefully it's love! They are so much better in person....

I secretly want a pair for myself... I already have an idea how to adapt this to hooks.

This whole process was a great learning experience for myself. I now have some strategies for tackling fear, and I know to make things more concrete as soon as possible to see if they are even possible.

Massive mondo pods... ideas for custom modifications

When I'm designing jewelry, I'm striving for many things, especially balance of proportion, form and structure, and often beauty. Yet once I've designed a piece, it's interesting to me to play with scale. Sometimes this is an easy size up or down, but often it requires some re-engineering and re-evaluating proportions.

Back in the late '90s, I created this pair of Half-wrap Pod Earrings (originally in steel with niobium ear wires... now in oxidized sterling).

Half-wrap Pod Dangles, oxidized sterling silver and freshwater pearl, ©2012 Kathy Frey, photo by Grant Boyle

The pods measure about 1-1/2" with minor fluctuations since I make them all by hand. Then I got many requests to make small ones... here's a pair in bright sterling.

Mini Half-wrap Pod Dangles, sterling silver and freshwater pearl, ©2012 Kathy Frey, photo by Grant Boyle

These pods are a little less than 1". They are so cute! Yet I don't make them regularly since they weren't great sellers... although it was nice for clients to have size options and to open the discussion that I can make just about any size.

Earlier this year a client custom ordered a mondo 3" pair! I'd never made them so large... there was definitely engineering involved. I had to work with heavier wire, and you can see that I scaled up the pearl to keep the whole earring in proportion.

For a custom order like this, where it's more of a modification, there's no design-time charges... just cost based on creation time and materials.

The nice thing is that they are still quite lightweight even at this size. They are really quite dramatic!

So don't hesitate to request pieces at different sizes... we all have our own style and body proportion. I'm always happy to help you make the statement you want.

Return of the anemone

Since last fall with the chaos of life, I've been working hard to get "unblocked." I'm working a lot and making pieces... not feeling totally stalled out, yet there are piles of sketches that I haven't even addressed. Sometimes it's easier for me to tackle production rather than enter that squirmy realm of making something new... pulling the ideas out, engineering them, letting them take shape. Then there's the reality of setting aside that kind of exploratory time in the studio, but play is important and some of my best pieces over the years have come from these moments.

And then there's the photography and possibly fear of showing something new... and the sometimes sadness when everyone else doesn't love what you did. Or maybe they love what you did but no one bought it... making it a tough business decision to keep pursuing it.

Anemone Brooch, photo by Larry Sanders, © 2012 Kathy Frey. This brooch is in my private collection because the engineering on it isn't quite perfect. And it's also weird. I've tweaked the pin stem so it works better, yet never remade a brooch for sale because everyone thought it was so strange... which is exactly why I love it so. I would love to see some out in the world, though! So this is one to put on the "revisit" list.

Or maybe you sold a couple of pieces from a collection but never continued flushing the ideas out fully to make them more marketable.

Black Gold Anemone Necklace, photo by Larry Sanders, ©2012 Kathy Frey. This photo is one of my favorites. I loved exploring the gold against the oxidized pieces. This necklace is now in a private collection... hopefully being worn!

 

Black Gold Double Anemone Strand necklace, photo by Larry Sanders, © 2012 Kathy Frey. This necklace is one of my favorites for how it lays. It has an interesting drape that is slightly off center. The branching pieces are really special on this one, and I love the sprinkling of 14k gold. I still show this piece... it is still available if you are interested. I'm wondering if I need to revisit the clasp to make it more secure... some people are afraid of the little tiny hook... I just like how it blends in with the design.

Who knows, it's nebulous to think about yet most artists know how it feels. One year not so very long ago, I got really hyped up about my anemone series... pushing my pod forms to be asymmetrical, weirder... playing with the ideas of "growth" and "emerging."

This mis-matched pair of anemone earrings just sold at the end of 2011. They are one of my favorite pairs of earrings ever! Many comments put me off of making mis-matched earrings, but I really do want to explore more... they are so fun, playful, and intriguing to me.

Due to the way the pieces are made, each one is totally one of a kind, which also raised my price point. When I showed them, sometimes the negative comments hurt, especially when I loved them so.Yet mostly the feedback was positive... not sure why the negatives sunk in so much.

Anemone Ring, photo by Larry Sanders, © 2012 Kathy Frey. This ring never sold because many people were daunted by the idea of wearing something so tall, yet the attention it has received got my work in numerous magazines and books... and most importantly it was fun to make! Sometimes you just have to let your inner workings as an artist show... not everything has to be about sales.

Now that I'm looking back over this series, I'm so happy to see all the good things that did come out of it. Publicity, sales, and design... that's why it's time to revisit it as well as some of those other ideas I've shelved.

Gold Anemone Double Strand Necklace, photo by Linda Savitz, © 2012 Kathy Frey. This was one of my efforts to combine the weird with the glamorous. It's my "from the sea" piece where I've mixed in Tahitian pearls and natural keishi pearls around the chain. I chose pearls that were naturally weird and organic, much like the shapes I wrapped to mix in. There are also raw diamonds in the mix for sparkle and a sandy texture... I liked making that connection with the pearl/ocean theme. This piece is also available and currently on show at Rare Gallery in Jackson Hole, Wyoming. Many people comment on it trying to find a recognizable form (like a shoe, the most common comment)... I'm hoping it will reach out and speak to the right person who likes the organic oceanic feel.

Last year I got a custom order for a pair of anemone clip earrings... it's taken me almost a year to face them. And now I'm jazzed again and want to make more pieces in this series! Artistically I felt like it was a strong direction for me because it's so hard to wrap and construct the asymmetrical pieces... I like that challenge for myself. And with the earrings I'm working on engineering different ways to join the branches together that doesn't feel so cumbersome. I will have to charge what I have to charge... which is something all artists have to reckon with. Yet I'm lucky to have a supportive fan base.

Proof that a new piece in the anemone series is underway! Thanks to my special client for pushing me back in this direction.

The books are back in stock!

This year I'm tackling a new system of organization, which is somewhat similar to one of last year's resolutions. I loved my paper tracking system of to-dos and such, yet there's an appealing aspect to going digital. More about that in a later post (especially since they might co-exist).... that's just a little lead in to explain why I was out of stock of "Elegant Wire Jewelry" for so long. Simply, I kept forgetting to order them!

I had jotted that reminder down onto a scrap of paper during a show when I sold the last copy. That paper then got mixed in with receipts, business cards and other post-show scrapple. It did not get thrown away, yet I've never had a place to put all those notes or transfer what's written on them. Then, maybe a week before my next show, I would think -- oh no! I need more books! -- yet there wouldn't be time to have them shipped and I would then shove the thought to procrastination land.

This photo is actual proof that my books are back in stock! You can order them from me in my Etsy shop where I will send you a signed hardback copy. If you would rather have a paperback (unsigned) copy, you can purchase those elsewhere online since I don't carry those at the moment.

Hopefully I will have books with me at my next round of shows... can't say for certain since I'll actually be flying (gasp!) so will have to gauge it based on weight, so order now while I'm in town and ready to ship to you! Winter is my favorite crafty time of year... it's a great time to hibernate inside.

If you already have my book, it would be GREAT if you would review it online (either at Amazon or Barnes and Noble), it really makes a difference to people who don't know me or my work. And, if you aren't happy with the book, drop me a line and let me know why. I've started to get requests for a more advanced book but haven't quite wrapped my head around what types of projects would call out to people and how I could present them in a way that appeals to you. All feedback is appreciated.

Recession-worthy gold

Have you seen my new vermeil pieces at a recent show? While working with a Chicago customer of mine who wanted a gold bangle but not the solid gold price tag (we are talking many thousands of dollars with today's market), we discussed the idea of vermeil -- a high quality, extra-thick (also government-regulated thickness) plating of gold over sterling silver. She was willing to be patient while I ran tests with Red Sky Plating, and the results are fantastic! She now has a beautiful gold bangle to round out her collection.

Square Riverstone Bangle, Cube Sculpture Hook Earrings, and Cube Pendant in 24k vermeil, snapshot from a recent show, ©2011 Kathy Frey

The Riverstone Bangle comes in at about $1200, although price can fluctuate with the market. The necklace and earrings are less than $300 each! This is very exciting, and a great way to get a gorgeous look. These prices are also for 24k gold, which is pure gold... the color is so warm and brilliant. Vermeil can be done in other karats -- 14k and 18k are common to match other pieces in a collection, which also brings the cost down a bit. I also want to do some tests with rose gold and green gold for some color variety without a high investment on my part.

The other exciting option is rhodium plating, which is what most white gold is plated with to give it that brilliant shine. I've done this over sterling. It looks almost like sterling but slightly shinier. It's a great option if you want a piece to remain tarnish-free yet still have the look of silver. This will make the cost of some of my pieces higher, but it's totally worth it to have low-maintenance jewelry. I will also do some tests where I matte the wire before plating to tone down the shine... so many options, so little time!

If you have any questions or want to special order any pieces, contact me directly since this collection is not available in my Etsy shop yet.

Custom order: cross pendant

Over the years I've done a lot of custom work, and actually it's one of my favorite things to do because it usually gets me to see my work in new ways or with new colors. Sometimes custom orders come at tough times. I'll get an inquiry that I'm excited about, but time is just not on my side. Custom orders often take more time, especially if design explorations are in order. And I've learned in the past that I must be paid for this design time, so that's always part of my estimates now. And other times, custom orders are just not up my alley... either something that doesn't speak to me or something that is not going to move me forward artistically (such as copying an existing design by another artist).

In the past I've been asked if I make cross pendants. That's not something that is in my repertoire, especially since I consider myself an abstract artist (although I have drawn specific pieces before, such as making a mini violin, which can be a fun challenge at the right time). Recently a wonderful customer asked me to make a cross, and she had an idea based off one of my necklaces she owns. This idea clicked for me, and I was excited to be able to make a special piece for her goddaughter.

Bundle Pendant, photo by Grant Boyle, ©2011 Kathy Frey

It's easy to imagine my Bundle Pendant with another section of wire that crosses it, which is what we both imagined. I didn't have to charge for design time since the creation of the new piece came naturally to my thinking. Here's the finished cross.

Cross Pendant, ©2011 Kathy Frey

I love how it looks with this new chain I've been working with, and the addition of the pearl makes it perfect for a young woman.

If you are interested in a cross pendant or any other custom work, contact me at any time. You can leave a comment here, send me an email through my website, or send me a conversation though Etsy. All of my contact information is also on my website.

Booth tweaks for smaller packing

A big challenge for traveling artists is always booth display. There are so many ways to make a beautiful display, but there are always the issues of weight and portability. I know many jewelers who can fly with their displays, which I am still envious of. I'm not sure if I will get to that point, but eventually I imagine it being a goal, especially now that I'm not centrally located.

Financially I have to set that idea aside for now. Yes, I understand the time saving behind flying. But I own my car, two booths, and many display pieces that are not small enough  to pack and ship easily. So for now I'm working within the parameters of trying to make my car load lighter and smaller... more efficient would be nice too. I'm also trying to have more visual umph in my display. I want to bring in more color, yet keep it light and airy.

For the Contemporary Crafts Market in Santa Monica, I introduced fabric-covered shelves, which also boost my storage in the booth. I'm working on some behind-the-scenes packing issues like how to store my backstock as well as bags and boxes while keeping them secure, organized, and dry for outdoor shows. My plastic columns are taking a beating, and I've just been feeling like it's time for a facelift of my overall brand image. For now I'm still using a couple of the columns until I see how I like the changes.

I'm slightly obsessed with this fabric that I found. I love how it matches my logo color and works with the rest of my color palette. It's got a lot of color without being too busy or playful in my opinion. And the images are snippits of botanical patterns, which look a lot like my jewelry.

Here's how the same pieces look in an outdoor 10x10 setup.

The fabric does feel more casual to me, which was one of my hesitations in going this route. But it does pack up smaller. I'm using rather chunky plastic shelves, like the kind used in basements and such. I pondered a different kind that was much flatter but way heavier. Either way I go, I think the other option might have been better so I just decided to pick one. I sewed up the fabric in a way that I could take it apart and re-sew it to fit something else if needed. In general I also went with the cheaper option because there are more changes I want to make this year.

The next addition will be cases. I've grappled with this for years, and even had a case for a while that started falling apart and eventually got stolen in a bizarre NYC incident during setup. So this time I'm trying pieces of tempered glass with glass clips. I hope it's not too fussy for packing. I'm going to do a dry run next week. My concern is do I just put cases on everything as I have it setup, where customers can still walk around all the columns, or do I need to create an L-shape display that I stand behind so I can easily help more than 1 customer without running around and leaving inventory lying out in the open everywhere.

I like being able to interact with my customers out in the booth and walk around in it, yet there are the practical logistics as to why jewelers often stand behind a wall of cases. I might be able to create a small L and have just 1 free-floating column. I think I'll be able to do some tests in my fairy cottage, or even on the back deck if the weather stays clear and dry.

Cases will be a huge change for me. It's going to completely alter the way I interact with people and my booth, yet I'm hoping it elevates the level of my work, cuts down on theft (which, shockingly, I don't have a ton of), and allows me to converse more with people about my work while they look and try pieces on. I'd like to be more of an active participant.

My next show is Krasl Art Fair on the Bluff in Michigan, July 9-10. I'll set up my cases there so I'll have some practice before the State Street Area Art Fair in Ann Arbor, Michigan, July 20-23. I'll share some pics, and hopefully have great sales so I can continue the booth renovation with new fabric banner images.

Street Fair vs. Art Fair

Yes, I am alive after my recent bout with Post-show Recovery Syndrome preceded by Melting into a Puddle at the Hottest Show in the World Syndrome (and, yes, I know, it was a dry heat). I'm not as cranky as I sound after showing at the 4th Avenue Spring Street Fair in Tucson last weekend, but here's what I learned (aside from April is way too early for 95 degree heat).

The good news is that this show is named appropriately. This is a street fair, which is different from an art fair. On Sunday morning I did a quick walk through half of the show, and found the quality to be nice. There's a full range of offerings from very low end to moderately high end, and a slew in between. A lot of street fairs are not strictly juried, yet 4th Avenue does try to set a standard that all pieces need to be made by the vendor, so as street fairs go this one is good quality. In general I would say that the jury is not looking at the work itself with a critical eye, yet I didn't see anything horrendous if I overlook the realistic-yet-plastic machine guns and numchucks that I saw at least 30 kids carrying. In general such items will not be found at an art fair. There were a lot of items geared towards quantity production.

The tough thing at street fairs is that there's a lot to compete with, such as:

Jugglers and other on-street entertainment.

Lots and lots of food. Usually people walk and eat, which is scary if they also choose to look at your art.

Multiple sponsorship booths which provide free entertainment and giveaways.

Pop-up artists who do cool stuff on the public areas of the show.

All photos are ©2011 Kurt Tallis from a past 4th Avenue Street Fair.

 

Of course art fairs have food and entertainment (usually music) to attract larger crowds and create more of a destination. Yet it's easy to see why some customers might be distracted or find some of the art booths to be extraneous.

The one bonus to street fairs is that if you have a top notch display, you can really stand out in a crowd. You may not be bustling with people all the time, but your items will attract the right type of clientele if they are at the show (and not too distracted by jugglers). This luckily happened to me in Tucson, yet it was hard to explain to many people my price points ($180.00 was mistaken for $18.00 more than once because that was a more common price point at the show).

All in all, participate in a street fair at your own risk. Collectors and art appreciators will *really* enjoy having nice quality at the show, yet you rely on how many of them actually attend the show. Street fairs are a great way to get your "show legs" if you are new to doing shows and want to practice setup, display, interactions, and sales in a casual setting. If a street fair makes sense due to travel, it might be worth it if you are teaming it up with another show. I will consider Tucson again if I get into the Tempe Festival of the Arts since they are always back to back weekends, which would spread out my travel expenses over 2 shows.

To demo or not to demo

In my recent post "You must be present to win," many artists started commenting about what they do in their booths to remain present. Some people like to create art in their booths to remain occupied. I have to stand by Bruce Baker's opinion of this tactic which is to not do it.

Why not? In general artists like to keep working in their booths because that's where our comfort level is. We all love to be in our studios creating, yet we all know this isn't a social process. Yes, we can sometimes talk while we are doing it, but is that talk selling or just entertaining the customer? Doing a voluntary time-limited demonstration is okay if you know how to add a few words help to get people excited to buy your pieces, to promote yourself as a teacher, to sell an autographed copy of your book, or to send people to your booth to learn more about finished pieces, etc.

Kathy wrapping a Riverstone Bangle, photo by Thea Volk, ©2011 Kathy Frey
I can talk and smile while wrapping some of my forms, but in general I am still focused on making rather than being present in my booth and engaging prospective buyers

We all need to challenge ourselves to step out of our comfort zones. It's hard to switch gears from being a maker to then being a seller of those beautiful pieces. It's one of the biggest challenges of this career we've chosen. Every issue of The Crafts Report magazine has great sales tips, usually from Bruce Baker and some other artists are starting to contribute their perspectives as well. It's a skill we can all learn, adapt to our personalities, and continue to improve upon. We will not become slick car salesmen with cheesy closing lines chasing after the big sale. We can make real connections with our art-loving clientele, and share the genuine joy and love about our work.

The way I think about doing work in my booth is like this: I can discreetly be writing an email on my Blackberry when my booth is empty and put it down when a customer walks by. They can tell I was doing something else and sense that my attention was not on the booth, show, or them... this is subtle but it creates a little tension or adds pressure. They feel like they have interrupted me and already the dynamic is awkward.

Now, of course, if you can use a demo as a way to lure curious people into your booth and start a conversation with a group of people while you are putting your project down and then switching the dialogue to telling stories and talking animatedly about the finished pieces you have on display, then by all means stick with it. For me, my work is a little too detailed and takes too much focus for me to make this transition easily (or for me to even feel like I'm making any progress on a project).

In the April 2011 issue of The Crafts Report, Bruce Baker has an article about improving sales practices which expands on some of the points from his workshops and CDs. I haven't finished internalizing the article yet, but the gist is that many people open a dialog with an artist by asking them something technical about their work, such as how long it takes to make something. We would all think a demo could be the solution! Yet Bruce explains that this is a conversational green light and that essentially we can start engaging the customer with stories about our work and how it benefits the customer. We aren't trying to dodge their questions, but really most people unconsciously want to know how our work will benefit them and their world rather than the technical aspects of what goes into creating it. I really want to take my time digesting this article because it's true... I've never sold a piece of jewelry to someone because they realized more than 200 hours of work went into it yet they love it when they realize a necklace design is such that it can be worn 10 different ways so it goes with so many different necklines that they already own.