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INFLUENCE AND PERSUASION: How The Designer Gets Others To Make The Choices The Designer Wants Them To Make

Posted by learntobead on October 14, 2022

I

Abstract:

Designers need to get the approval of and payment from their clients. That means the client has to recognize and share the choices the designer made when creating the piece of jewelry. It all comes down to two aspects of marketing: persuasion and influence. Marketing is about creating persuasive arguments which can influence a person’s beliefs, attitudes, motivations, intentions and behaviors. Influence comes with knowing what the best outcome that the marketer should seek. Persuasion includes the tools you use to get there. Persuasion can take many forms. The marketer’s success depends on a handful of persuasive factors. Marketing strategies follow one or more of eight universal principles of persuasion. Information within any successful persuasive argument is best presented in a certain order.

Influence and Persuasion

Marketing is about creating persuasive arguments which can influence a person’s beliefs, attitudes, motivations, intentions and behaviors. The marketer wants to be able to persuade the client to focus their attention on the jewelry product line, to approach it, touch it, try it on, buy it, exhibit it, share it with others, then, moreover, to further persuade these others (thus making the marketing message contagious) to want to buy it. Influence comes with knowing what the best outcome that the marketer should seek. Persuasion includes the tools you use to get there.

When we are trying to persuade someone, we might be trying to get them to change their mind about something. We might want them to change the weight, ranking or priority they give one thing over another. We might want them to see the interrelationship among two or more otherwise unrelated things. We might want them to re-evaluate the cost and reward calculus they use when deciding to make a purchase.

When trust is present, influence increases and persuasion ends in more positive outcomes.

Persuasion can take many forms. It can be…

· Coercive, done aggressively through direct commands, threats, fear mongering, shaming.

· Informational, spread as biased in some way towards a particular position or idea.

· Leveraging a belief by appeals to logic and reasoning.

· Leveraging a belief by appeals to feelings and emotions.

· Establishing a high level of credibility or character.

A marketer or jewelry designer is not born as persuasive. It is something to be learned, practiced, applied and applied again. The strength of the marketer’s influence centers on a handful of persuasive factors, such as:

1. Commonalities: People like people like themselves.

2. Logic and Rationality: When you see data, it tells a recognizable story.

3. The Target Audience’s Needs, Wants, Values and Desires: It is important to pay attention and hone in on these.

4. Attractiveness: Attractive people are more persuasive.

5. Confidence / Charisma: Confident /Charismatic people are more persuasive.

6. Preparation: Learning, Practicing and Preparing are how you place yourself in a powerful, persuasive position.

Persuasion and Marketing

Persuasion in marketing involves the ability not just to influence people’s actions, but their attitude as well.

Persuasion is a matter of establishing mutual trust or shared understandings. You develop that sense of trust in your client. That means, they believe that you will deliver on any and all your promises, and that your product will solve their problems, needs and/or desires. The marketer presents some type of evidence which the client must interpret as relevant and valid for themselves, whatever that might mean.

Marketing campaigns are various strategies attempting to influence, direct or change client behaviors by eliciting reactions. Marketing campaigns rely on imagery and word associations tied to emotional responses.

To be persuasive, the marketing message must have value and relevance for your target client. She or he might see a reward or a minimization of costs and agree to change their behavior. She or he might be trying to shield themselves from anything which refutes their sense of self and self-esteem. She or he might derive pleasure when they can align their self-concept with that of the emotional message associated with the product. She or he might find that they can meet their needs for understanding and control by finding out more information about your product.

In response to any marketing campaign, the client can do one of three things:

1. Accept

2. Non-commit or remain indifferent

3. Reject

And it is important to think of persuasion as a continual process. You might be able to persuade someone to purchase your product once, but will they purchase your product again?

The Designer As Marketer Should Have A Detailed Familiarity
With Everything Involved With Consumer Behavior

What causes clients to purchase certain products and brands, and reject others? It is important to begin to document client shopping behaviors, motivations and their psychological and sociological underpinnings.

The marketer will want to get a handle on the target audience in terms of

· Psychological Factors: How assumptions, perceptions, understandings, values and desires affect responses to the marketing message.

· Personal Factors: How demographic characteristics, such as age, culture, profession, gender play roles in forming responses to the marketing message.

· Social Factors: How socio-cultural groups, such as income, geographic residence, education level, affect shopping behaviors and responses to the marketing message.

How Can Marketing Affect Client Shopping Behaviors?
The Eight Universal Principles of Persuasion

Persuasion works when the client feels that, by purchasing your product, you and your product have made a positive contribution to their life. There are different ways or principles marketers follow for establishing that sense of positivity.

There are eight universal principles of persuasion the marketer can resort to in order to influence client shopping behaviors. These are,

1. Reciprocity

2. Commitment

3. Consensus

4. Authority

5. Affinity

6. Scarcity

7. Visibility of Consequences

8. Information Exposure

Reciprocity

If you do this for me, I’ll do this for you.

People tend to feel the need to return the favor. You offer or remove incentives and play with client’s natural tendency to be grateful and want to do something for you in return. You might offer them discounts or a free sample. You might put them in a frequent shopper rewards program. You might do a special customization. You might offer them a gift. You might offer something special to first time buyers or to clients who register for your email list.

Commitment

I am a loyal customer.

Once someone is engaged with something, they are more likely to stick to it and commit. They become loyal to the designer, the designer’s business and the designer’s brand. The marketer would do those things which enhance customer loyalty. You might have a special showing or trunk show. You might include them on your email list. You might make them aware a way ahead of time of some deals or opportunities.

Consensus

If it’s OK with them, it’s OK with me.

Sometimes this is referred to as the herd response. If the client sees others doing it, they are more likely to do it as well. The marketer here would demonstrate the popularity of their products with other clients and client groups.

Authority

If such-and-such expert tells me it’s OK, I’ll think it’s OK.

Clients are more likely to listen to an expert they trust, than anyone else. The marketer would have the marketing message put forth by trusted experts who could be seen as authority figures. These authority figures are seen as having already established proof of their knowledges and beliefs. Authority might be actual or implied. Thus, their advice is recognized as trustworthy. You might seek endorsements from well-known figures. You might create an ad where the expert is delivering the message. You might rely on influencers online to spread your marketing message.

Affinity

She bought it, and she’s a lot like me, so I’ll buy it as well.

The client is more willing to follow through on the marketing message and goal if she or he knows someone who is similar to themselves who bought the product. Similarly might be by gender or age or economic class. Similarly might be people who belong to the same church or shop at the same store or attend the same events. The marketer would emphasize shared interests. The marketer would present reasons why conformity is the best choice here.

Scarcity

I better get it right away, if I’m to get it at all.

People tend to want what they think they might not be able to have. When something is scarce, clients tend to assign it more value. Defining the context becomes very important for this principle of persuasion. It might be something that is exclusive. It might be in limited supply. It might have some sense of rarity. It might be subtle clues provided in how the products are displayed to make it seem like you are running out of stock (such as, a very large container with a few items left in the bottom). The product might not be available from any other competitor. The product might be temporarily on sale or only available for a limited amount of time. The marketer might emphasize that this product does what no other product can do. The marketer might emphasize that if the client doesn’t act quickly, the likelihood that they could ever purchase the product will be very low.

Visibility of Consequences

I know what will happen when I purchase and use this product.

The client is more likely to purchase a product if they can anticipate the consequences of their choice. Every purchase is a risk. Will it work? Will it hold up? Will it be appropriate? Will I get the reactions I want? Here the marketer would highlight evidence which makes the consequences obvious, and then more evidence which minimizes the likelihood that any risk and uncertainty might occur. The marketer might emphasize the positive results, and minimize any negative ones. They might point to past successes of this or similar products. They might present the pros and cons and comparative imaging of future outcomes. They might present the pros and cons by comparing antecedents. They might explain that the client will have emotion regrets of they don’t make the purchase.

Information Exposure

I was told it was important now to act.

Clients often have to make choices when they have more limited information upon which to rely. How and when the client is exposed to certain information, prompts, triggers and cues may affect their choice whether to buy a product or not. The client might be distracted. There might be time / timing / seasonal considerations where they pay more attention, say to holiday merchandise during Christmas season, than at other times of the year. Some information may have increased salience, depending on the context. For example, what the jeweler says when standing behind the jewelry counter may have more salience than what that same person says about the same product when randomly meeting that person on the street.

The marketer might present or withhold information based on timing considerations. The message might be different presented during the day from presented during the evening. It might be different in the Spring from the Fall. The marketer might try to connect positive emotional information the client already holds to the product the marketer is trying to sell. This could be a positive memory such as a song or image or experience. The marketer might stress how even with this limited information the client can still anticipate a level of success. The marketer might emphasize negative information about a competitor or competitor’s products. The marketer might use popular phrases and words that have a particular emotional or cognitive association with the target audience.

The Persuasive Argument

Whatever principle of persuasion the designer follows, the presentation of information in their persuasive argument follows a pattern. That is, informational content, when presented in a certain order, makes for a more persuasive argument. This order is presented in the table below.

A Few Cautions

When marketing your products, you have a professional responsibility not to cross the line between influence and manipulation. You might be successful in manipulation in the short term, but this will probably spell disaster for you mid- and long-term. People are willing to be influenced and persuaded, but resent getting manipulated. And if manipulated, they usually find out.

Don’t present yourself falsely in any way. Don’t claim to be an expert when you are not, for example.

Last, don’t over emphasis economic factors — price, discounts, and the like — in your marketing messages. Rely more on one or more of the universal principles of persuasion where you play towards emotions, perceptions and desires.

_________________

FOOTNOTES

Abelson, Herbert I. Persuasion: How Opinions and Attitudes are Changed.
Spring Publishing, 1965.

Clements, Jon. The Power Of Influence and Persuasion in Business.

As referenced in:
https://metamorphicpr.co.uk/power-of-influence-and-persuasion- in-business/

Davis, Suzanne. 7 Sensational Hooks That Grab Readers’ Attention,
7/14/2022.
As referenced in:
https://www.academicwritingsuccess.com/7-sensational-essay-hooks/

DeFalco, Nicole. Influence vs. Persuasion: A Critical Distinction For Leaders, 10/30/2009.

As referenced in:
https://www.socialmediatoday.com/content/influence-vs-persuasion-critical-distinction-leaders#:~:text=Influence%20is%20having%20a%20vision,earning%20their%20sincere%20buy-in.

Druckman, James N. “A Framework for the Study of Persuasion,” Annual
Review of Political Science, 2022.

Feld, Warren. Health Planner Influence. 1979.

Miller, Michael. The Art of Influence and Persuasion in Business.

As referenced in:
https://www.mindwhirl.com/entrepreneurship/business-mindset/the-
art-of-influence-and-persuasion-in-business/

Peek, Sean. The Science of Persuasion: How To Influence Consumer
Choice, 8/3/2022.

As referenced in:
https://www.businessnewsdaily.com/10151-how-to-influence-
consumer-decisions.html

Vatz, Richard E. The Only Authentic Book of Persuasion. Kendall Hunt,
2013.

Wikipedia. Persuasion.
As referenced in:
https://en.wikipedia.org/wiki/Persuasion

_______________________________

Thank you. I hope you found this article useful.

Also, check out my website (www.warrenfeldjewelry.com).

Enroll in my jewelry design and business of craft Video Tutorials online. Begin with my ORIENTATION TO BEADS & JEWELRY FINDINGS COURSE.

Follow my articles on Medium.com.

Subscribe to my Learn To Bead blog (https://blog.landofodds.com).

Visit Land of Odds online (https://www.landofodds.com)for all your jewelry making supplies.

Check out my Jewelry Making and Beadwork Kits.

Add your name to my email list.

_________________________________

Other Articles of Interest by Warren Feld:

Saying Good-Bye! To Your Jewelry: A Rite Of Passage

The Jewelry Design Philosophy: Not Craft, Not Art, But Design

What Is Jewelry, Really?

The Jewelry Design Philosophy

Creativity: How Do You Get It? How Do You Enhance It?

Disciplinary Literacy and Fluency In Design

Becoming The Bead Artist and Jewelry Designer

5 Essential Questions Every Jewelry Designer Should Have An Answer For

Getting Started / Channeling Your Excitement

Getting Started / Developing Your Passion

Getting Started / Cultivating Your Practice

Becoming One With What Inspires You

Architectural Basics of Jewelry Design

Doubt / Self Doubt: Major Pitfalls For The Jewelry Designer

Techniques and Technologies: Knowing What To Do

Jewelry, Sex and Sexuality

Jewelry Making Materials: Knowing What To Do

Teaching Discplinary Literacy: Strategic Thinking In Jewelry Design

The Jewelry Designer’s Approach To Color

Point, Line, Plane, Shape, Form, Theme: Creating Something Out Of Nothing

The Jewelry Designer’s Path To Resonance

Jewelry Design Principles: Composing, Constructing, Manipulating

Jewelry Design Composition: Playing With Building Blocks Called Design Elements

Contemporary Jewelry Is Not A “Look” — It’s A Way Of Thinking

__________________________________

SO YOU WANT TO BE A JEWELRY DESIGNER
Merging Your Voice With Form

588pp, many images and diagrams Ebook or Print

The Jewelry Journey Podcast
“Building Jewelry That Works: Why Jewelry Design Is Like Architecture”
Podcast, Part 1
Podcast, Part 2

PEARL KNOTTING…Warren’s Way
Easy. Simple. No tools. Anyone Can Do!

184pp, many images and diagrams Ebook or Print

SO YOU WANT TO DO CRAFT SHOWS

16 Lessons I Learned Doing Craft Shows

198pp, many images and diagrams Ebook or Print

___________________________________________

Posted in architecture, Art or Craft?, art theory, bead weaving, beads, beadwork, business of craft, craft shows, design management, design thinking, Entrepreneurship, jewelry design, jewelry making, Learn To Bead, pearl knotting, professional development, wire and metal | Tagged: , , , , , , | Leave a Comment »

Selling Your Jewelry In Galleries: Some Strategic Pointers

Posted by learntobead on October 1, 2022

About Working With Galleries

Typically, an art gallery is a small business which exhibits and sells art. Galleries attract different kinds of clientele. Some people who purchase art might want to have something to hang in their home or business. Others would be considered art enthusiasts and collectors. They purchase art as investments. The profits the gallery takes in need to be sufficient to cover the cost to run the business, and have money left over to live on and play with.

The gallery owner, in effect, curates what is shown. The gallery will want to have some variety, but also some consistency in what is shown. Galleries tend to have reputations around what they specialize in. The gallery owner is typically very knowledgeable about art and how art connects with the current culture. Many galleries are biased against jewelry because jewelry is not understood universally as an art form. When you research galleries, you will want to document which ones would be more amenable to carry your jewelry pieces.

Most galleries have physical store spaces, but with a website presence. There are also digital galleries and online sales platforms. Some are open to all artists; some specialize in gallery shop membership. There are auction houses both physical and online. Also places like Amazon and Ebay have fine art and collectibles sections. Most sales are conducted in physical spaces, but more and more online.

Before you approach any gallery, be sure you have answered two important questions up front:

1. Does your work and your needs fit the gallery? Do some research. Look at the lines represented, the artists represented, how things are organized. Contact some of those artists and ask about their experiences with the gallery and how exhibiting there works for them.

2. What benefit(s) does your work offer the gallery, in other words, why should they represent you? It is important to establish and define your professional relationship with the gallery. Determine what the gallery needs from you to make things work out for both of you.

When you work is represented by a gallery, regular communication is important. Be on time with deadlines and materials needed. In a big sense, your relationship is a collaboration.

Gallery representation will increase your reputation, credibility and legitimacy. It will lead to you getting higher prices for your work. It will increase your visibility. It will enhance your brand.

Your Goals

The gallery needs to represent and promote you when you are not around. They will need to know a lot about you, and feel good about you as a designer and as a person.

That means your goals will be to:

· Research galleries which are a good fit between you, your jewelry, and their clients.

· Research artists/designers they represent and visit their websites; make note of their selection, styles, pricing and possible pricing formula they might have used.

· Create a strategy for presenting yourself and your work.

· Make your pitch to the gallery.

· Place your jewelry in a gallery for sale, priced so that you receive a good return.

· Create a collaborative relationship with the gallery owner around how best to serve the gallery’s clientele and collector base.

· Maintain good and frequent communication.

· Create jewelry for the gallery which has a high degree of consistency and coherency with you as a designer and the brand you are promoting.

· Have a high enough level of productivity so that the gallery can be confident you will always have enough jewelry (usually 30–35 pieces available at any one time) for them to sell, particularly if they want to replace pieces which have sold.

First, A Self-Assessment:
Is Selling In A Gallery Right For You?

Step back for awhile and answer these kinds of questions about you as a designer and your work. Be honest with yourself.

1. Is your jewelry consistent and cohesive? Have you developed a distinctive designer style and is this consistently reflected in the jewelry you want to place in a gallery?

2. Is your jewelry made of quality materials?

3. Have you implemented the best standards of technique, technology and craftsmanship?

4. Are your pieces appropriately finished from end to end?

5. How marketable are your pieces? Which are most marketable?

6. How should you refer to your jewelry style and aesthetic in marketing when talking with galleries and collectors? What labels would you give these? How accessible are these labels to galleries and collectors?

7. Where should you concentrate your efforts to find galleries and promote your jewelry to them?

8. Would your pieces fit in the highest-quality surroundings?

9. Are your presentation materials — portfolio, artist statement, business card, jewelry displays — professional and engaging?

Do this simple exercise. Imagine who the typical collector of a particular gallery might be. How does your jewelry look through their eyes? What would the collector think and feel and see when trying on a piece of your jewelry? What are their needs and desires, and how does your jewelry help them to meet these?

Make a good list of anything you can do to improve.

Also, you might get an objective opinion, say from another jewelry designer, or even a gallery representative. What kinds of things do they see which could enhance the appearance and marketability of your work?

Build Consistency Into Your Work

Consistent work makes it easier for the gallery owner to represent, market and sell your work. It makes it easier for the collector to connect with your body of work and purchase it. Consistency means that your jewelry is immediately recognized as designed by you.

Consistency can mean many things. If you are consistent on 3 or 4 factors listed below, then you have some wiggle room with the others.

Consistency can be conveyed by:

· Color, pattern, texture

· Use of point, line, plane and/or shape

· Theme

· Forms

· Rhythm, balance, volume, size/shape distribution

· Medium

· Materials

· Techniques and technologies

· References to history, time, place, situation, culture

· How your pieces are finished off

· Signature elements, like a certain bead or tag, included with your pieces

· Comfort, movement, drape and flow

· Predominant silhouettes

· How your pieces feel and look when draped on the body

· Size adjustability

· Selection of clasp and design of clasp assembly

· Display and presentation

Getting Your Portfolio and Presentation In Order

You will be bringing several pieces of information with you when making your pitch, whether in person, through email or online. At the lease, these will include an Artist Statement, a Portfolio, and a business card or resume or biographical profile, and sample pieces and or images.

Some pointers:

1. Everything should be well organized and reaffirm your designer style and brand

2. You should have very clear images of your pieces; in a few of your pictures you want to demonstrate the scale of your pieces, such as sitting them next to a recognizable object or being worn on the body or laying on your work bench as you construct it

3. You want to have up-to-date information about pricing and sold works

4. In your portfolio, you may want to include current prices, but you also may want to leave off dates; track the dates for yourself in other records not to be shared with the gallery; always refer to your prices in retail values, not wholesale

5. Your pricing strategy should be consistent from piece to piece; it should be based on both the cost of creating a piece as well as your current brand value; it should be based on a simple formula that can be explained to others.

6. The images in your portfolio should represent you as a jewelry designer today

7. If visiting in person, you want to always have samples of your work with you. The samples should be representative of the kinds of things you would want to place in this gallery.

Have A Clear Image About The Typical Buyer Of Your Work

You should be keeping good records of your buyers.

Who are they?

· Average age

· From particular neighborhood, city, area

· Buying for a business or for personal

· Situations in which they wear your jewelry

· Price points they favor

· Income / wealth

· Married / single

· Male / female

Why would your buyer come to a gallery rather than another setting to purchase jewelry?

Why would they come to this particular gallery you are targeting?

Some Notes About Pricing

Use a formula. Keep it simple and explainable.

Don’t undersell your piece. You need to make a profit.

Don’t underprice your piece. This disvalues it.

Keep your prices competitive with those of other designers you are competing with.

In a gallery setting, you want national or international prices. If you live in a lower cost locale, you do not want to base your prices on their expectations.

Don’t overprice. You won’t get repeat business that way. Keep your prices competitive.

Review your pricing regularly.

As you make more and more sales, adjust your prices upward for all your pieces accordingly.

It is better to suggest pricing to the gallery owner rather than ask their opinion of what prices to set. In this way, you come across as a more established, experienced designer. Depending too much on the gallery owner to set prices might make you come off as a novice with unproven market value.

Finding Target Galleries

Do online searches. Ask other jewelry designers.

Begin with galleries that are nearby to you. Do not limit yourself to the most prominent galleries. If at all possible, visit each gallery in person.

You want to answer for yourself these kinds of questions:

· Is the location good, bad or indifferent?

· Are the staff friendly and approachable?

· Are the staff knowledgeable about the pieces in the gallery?

· Do I like the way the pieces are displayed and labeled?

· Would the gallery be a good fit for my work?

· Does your work fall out of the general pricing of other jewelry in the gallery?

Making The Pitch

You can make your pitch by email, phone, online, or in-person. In-person is the best, if possibleCreating a personal connection with a gallery will make them more likely to want to work with you. Getting recommended to the gallery by an artist, designer or collector can often open doors for you.

Emailing:

Start your emails by asking them if they are currently seeking new jewelry designers.

In your first email, do not include attachments. This makes it too easy for them to reject you. Instead, use this first email opportunity to establish a personal connection. If you get a positive response, follow-through with attached documents.

Galleries can be overwhelmed with emails, so this is probably your weakest strategy for contact. It is easy for the gallery to send a thanks-but-no-thanks form letter in response to an email.

Online Submission Through Their Website

The gallery will present you with guidelines and a form to fill out. This helps them weed out designers who might not be a good fit. This helps the gallery discourage designers from approaching them. It may get you some attention, but do not depend on this approach.

In-Person:

Make sure ahead of time that the gallery is a good fit for your work. Otherwise this will be a waste of time.

If feasible, you might shoe-horn yourself into their operations. Be around. Visit the gallery. Attend their openings. Strike up conversations. Talk to the designers they represent. Ask them how they came to be represented by the gallery. Talk to the clients walking around the gallery and looking at the pieces, particularly the jewelry. Ask them what they particularly like about the jewelry they are viewing. Casually mention you are a jewelry designer looking for galleries in which to place your work. Don’t be sales’y. Perhaps email them after a visit thanking them for the showing or giving your take-aways about the show.

If cold calling or making a specific appointment, be sure your portfolio and presentation are in order. Make the talk very conversational. Try to elicit things which connect you and your experiences to those of the gallery owner. Be prepared with several questions. Also ask the gallery owner for feedback on your work and on your presentation.

NOTE: It is easier for the gallery to reject you if you try to make an appointment by phone, and more difficult to ignore you if you cold call.

Hand the gallery owner your portfolio. Give them space to review it. Don’t do a running commentary as they page through this.

Always make eye contact. Don’t be shy. Don’t look away or look down when you are speaking with someone. Use their first name and repeat it during your conversation.

The gallery owner, if interested in your work, will ask you a series of questions. Always be upbeat in your answers. Keep your answers short and to the point. Often the style of how you answer will be just as important as the content of your answer.

Depending on where your target galleries are, you most likely will be making your pitch in all these different ways. So your materials have to be adaptable — file structure, size, both digital and print files.

One thing the gallery, if representing you, will want to do is tell your story over and over again. Part of your pitch will be some subtle introductory training of them towards this end. Your story should be easy to understand and easy to repeat.

Emphasize the consistency in your work.

Show how your work will fit with other designers the gallery represents, yet at the same time offer something different and special. Tell them how your work can be distinguished from your competition.

Demonstrate your in-depth knowledge of their clientele and their needs and desires. Explain how your jewelry will meet their needs and desires.

Demonstrate that you are serious about your work, and are always striving to improve your technique and further hone your style.

Even if you get a positive reaction to your work at one gallery, do not stop approaching other galleries until you have a firm offer.

Be persistent.

After each interaction, send a thank you note.

Now Your Work Is In A Gallery
What Do You Do Next?

Maintain frequent communication with the gallery.

Keep the gallery informed of your new work. New work often sells best.

If your pieces are in more than one gallery, rotate them from gallery to gallery.

If you have ideas for the gallery, such as changes in displays, offer them as suggestions, not demands.

Frequent thank you notes are a good strategy.

If your pieces are getting a lot of positive responses, you might ask the gallery owner to do a show or special event for you and your work.

Ask the gallery for a letter of recommendation. The gallery owner should mention how great you are to work with, how buyers appreciate your work, and how sales of your pieces have done for them.

____________________

FOOTNOTES

Denter, Carlin. Between Commerce and Art. About Galleries and Market. Art Jewelry Forum, 01/29/2019.

Horejs, Jason. A Post For Gallery Owners | How To Work Successfully With Artists. RedDotBlog, 10/4/2021.

Horejs, Jason. “Starving” To Successful. The Artist’s Guide to Getting Into Galleries and Selling More Art.

Volpe, Christopher. How To Get Into Galleries.

_______________________________

Thank you. I hope you found this article useful.

Also, check out my website (www.warrenfeldjewelry.com).

Enroll in my jewelry design and business of craft Video Tutorials online. Begin with my ORIENTATION TO BEADS & JEWELRY FINDINGS COURSE.

Follow my articles on Medium.com.

Subscribe to my Learn To Bead blog (https://blog.landofodds.com).

Visit Land of Odds online (https://www.landofodds.com)for all your jewelry making supplies.

Check out my Jewelry Making and Beadwork Kits.

Add your name to my email list.

_________________________________

Other Articles of Interest by Warren Feld:

Saying Good-Bye! To Your Jewelry: A Rite Of Passage

The Jewelry Design Philosophy: Not Craft, Not Art, But Design

What Is Jewelry, Really?

The Jewelry Design Philosophy

Creativity: How Do You Get It? How Do You Enhance It?

Disciplinary Literacy and Fluency In Design

Becoming The Bead Artist and Jewelry Designer

5 Essential Questions Every Jewelry Designer Should Have An Answer For

Getting Started / Channeling Your Excitement

Getting Started / Developing Your Passion

Getting Started / Cultivating Your Practice

Becoming One With What Inspires You

Architectural Basics of Jewelry Design

Doubt / Self Doubt: Major Pitfalls For The Jewelry Designer

Techniques and Technologies: Knowing What To Do

Jewelry, Sex and Sexuality

Jewelry Making Materials: Knowing What To Do

Teaching Discplinary Literacy: Strategic Thinking In Jewelry Design

The Jewelry Designer’s Approach To Color

Point, Line, Plane, Shape, Form, Theme: Creating Something Out Of Nothing

The Jewelry Designer’s Path To Resonance

Jewelry Design Principles: Composing, Constructing, Manipulating

Jewelry Design Composition: Playing With Building Blocks Called Design Elements

Contemporary Jewelry Is Not A “Look” — It’s A Way Of Thinking

__________________________________

SO YOU WANT TO BE A JEWELRY DESIGNER
Merging Your Voice With Form

588pp, many images and diagrams Ebook or Print

“Building Jewelry That Works: Why Jewelry Design Is Like Architecture”
Podcast, Part 1
Podcast, Part 2

PEARL KNOTTING…Warren’s Way
Easy. Simple. No tools. Anyone Can Do!

184pp, many images and diagrams Ebook or Print

SO YOU WANT TO DO CRAFT SHOWS

16 Lessons I Learned Doing Craft Shows

198pp, many images and diagrams Ebook or Print

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