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DESIGNER CONNECT: Tony Perrin of Lock & Key

Posted by learntobead on July 5, 2018

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DESIGNER CONNECT

Following The Bead

Be Dazzled Beads is a community of Creatives. Some people use our beads to make jewelry. Some to do mosaics. Some to adorn and embellish costumes. Some to enhance things like wine classes or drapes or mirrors or sweaters or cross stitch patterns. Some to embellish paintings or sculptures. Some actually use our beads in science experiments.
To us, all Creatives are Designers. That is, they make artistic and functional choices about how to incorporate the types of supplies we sell into personal visions. Some design for themselves. Some design for friends and family. Some design as a business.
It is not as much fun to work alone or isolated when you realize you are part of the larger Be Dazzled, Land of Odds and Nashville communities. We can learn a lot of insights from each other. We can support each other. It’s all about Connection!

DESIGNER CONNECT PROFILE

Tony Perrin, Jewelry Designer

Founder and Designer, Lock & Key (www.lockandkeydesign.com)

tony perrin Tony: “I feel lucky. Blessed. Is the world easy? No. I have multiple jobs. I am part of the gig economy. I am trying to succeed in a world that favors large businesses. But I am working creatively. Finding my groove. There are a lot of sleepless nights. It’s not easy to be a Professional-Creative. But I would not change things for the world.”

STARTING OUT

Tony: “I have memories of always being surrounded by the arts.”

Tony comes from a family that was very arts-oriented, and very supportive of him pursuing the arts and crafts — wherever it took him. His mom was a watercolorwatercolorist and oil painter. His father was a small business owner as well as a photographer. His dad’s dad sculpted for Lockheed, and even was a street dancer. He had a great uncle in New York who had a jewelry business, and Tony remembers, even at age 5 or 6, his uncle was always making jewelry for everyone in the family.

Starting out with gymnastics, Tony graduated to dancing (because his older sister danced). As a dancer, he had to teach himself to sew for costumes as his Mom was much better with a glue gun then a needle. He remembers his family always making things — food, pastry, lapidary, painting. He has fond memories of always being surrounded by art and creativity.

A family friend — Frank — taught him how to bead weave the summer he was ten. That Summer Frank and his wife exposed Tony to the artisan craft as well lapidary, jewelry festivals and much more.

As many designers are, Tony is self taught. tony2.jpg

Warren: “Do you think now, with all the creative things you are doing, that you, in some respects are re-creating your childhood?”

Tony: “Oh, for sure! I would say that’s part of a goal I have. I swore I would never be a teacher, but kids gravitate towards me like a moth to a flame. I realized it is because I am ‘5’. Kids get me, which should be the other way around. I am young at heart. I think trying to retain that naivete, that sort of blissful ignorance, especially as a Creative, just allows you to be a little more free with your aspirations. All of a sudden you grow up. It’s like Peter Pan. You lose that sense of innocence and exploration.”

Tony grew up in Los Angeles, spent some time pursuing a career in fashion in New York City. He moved back to Los Angeles for a few years. And then he came to Nashville with his wife who is a singer-songwriter. Today Tony wears several hats: Jewelry Designer, Dance Educator, Choreographer, Costume Designer, Jewelry Design Educator.

Tony: “Growing Up, I always thought I had to do one of these things, or the other. Before I moved to Nashville, jewelry making was just a hobby. When I moved here, one of my goals was how do I interweave all of the creative aspects that make me whole. I think a lot of creatives are creative in more than one discipline, as well. So I’m just trying to figure out how to make it one — one happy world.”

KEEPING GOING

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Tony: “It’s been a curvy road.”

Warren:“Today, how would you describe what your jewelry making is like today?”

Tony:“I describe Lock & Key as a modern interpretation honoring an artisan craft. I am doing something that is ancient in terms of its art, as a form of communication and expression. The loom that I use is about 80 years old at this point, so it’s touched many different hands and many different stories. It’s definitely art jewelry. I describe what I do as boho eclecticism. Tribal influences, so I say it is international in feel. One of the main feedbacks I get is that it is fashion, but not trendy.”

Tony continues by describing his core consumer.

Tony:“My core consumer is 40+. Is a woman who appreciates artisan product, as well as pieces which make them feel modern with a sense of timeless appeal.”

Warren:“So, that first day you decided to become a business. What was that like?”

Tony’s first piece, done around 1998, was a custom piece. He was asked to design a piece for the head designer at Betsey Johnson, a New York fashion designer of clothes and accessories. It was a loomed piece, 1 1/2″ wide choker with multi-colored skulls in it and dangling feathers. He was excited, to say the least. He shared the story about making this one piece, which inspired other people to ask him to design a piece. People responded to his authenticity, and then it became all about the product.

When Tony moved to Nashville, he decided to focus on jewelry. It was part, what was he going to do to make a living? Part, honoring his childhood mentor who had made the Indian jewelry. Part passion about his loom, and gradually adding precious metal clay to the mix of media he relied on for his jewelry designs.

Tony:“And I still love it. Exhausted. Up until 3am getting production ready. Fingers chewed up by my drill bits. But I absolutely still love it!

CREATIVE PROCESS

In describing a typical piece, Tony begins with multi-media. This includes some loom bead weaving. He incorporates ball and chain. He likes to use a lot of color and texture, and mix matte and glossy. People respond well to his color sensibility. He uses many square shaped beads with round beads. With the beadwork, he includes a piece of metal, like a sculpted metal clay piece, either an integral part of the piece, or as a pendant. He often includes semi-precious stones. He likes to mix metal finishes. “Silver and Gold is the same conversation as Navy and Black. If it is well-balanced, it makes it very versatile.”

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Tony mentions that, to understand his creative process, you have to go back to his goal of trying to meld together all his creative worlds. His creative process is not a linear process.

He cites as an example a very successful pair of earrings he designed which are precious metal clay based. But they were flowers, which is very specific seasonal iconography. When he started thinking about what he wanted to do the next season, he thought about how he could adapt these earrings. He mentioned that a lot of his pieces and his bead weaving have an almost art deco or art nouveau feeling to them. At the time, there was an Egyptian revival style that was prominent because of a world wide tour of Egyptian antiquities.

He reflected on his artistic style and the current revival trend, and asked himself: This was a successful piece. I’m thinking business here. How do I creatively then come up with the next version of it? So for the Fall holiday he explored hieroglyphics and lotus flower motifs. And for the following Spring, he thought about incorporating the scarab and other Egyptian touches.

Tony: “Things started to trend in High Fashion — snakes, beetles, insects, and bees. I have a scarab beetle tattooed on my back that is about 14″ long, the whole width of my back. It’s an icon that is important to me. It symbolizes the sun god Ra. It represents newness and renewal, and I have chronic back pain, so it was interconnected. It started from something that was authentic and meaningful for me, and which started to become a trend years after I had gotten my tattoo. I introduced this sculpt and coupled it with beadwork. People responded to it. Then I started thinking how to tie this all up from a business perspective. If we’re just creating ‘pretty’, who cares? You have to be able to speak to an audience.”

Tony discussed that jewelry artists have to be able to synergize the Business-Creative Mind. Both worlds need to be respected. It’s a hard business, he agrees. Artists have to monetize their creative output and still remain authentic to themselves.

Frequently, he asks himself: Do I need to break up with my design? It is OK, he indicated, to say Yes! His scarab beetle was a good idea, but some reality testing was in order. Was it too early before the trend? Would it be marketable?

On a second business level, Tony poses the question: Can I stand behind my product? Can the store that sells his pieces be able to stand behind his products?

A third major consideration is whether he has successfully differentiated his products from the mass market. That is one reason he incorporates glass seed beads and Czech beads within his work. Glass beads allow him to inject colors, where more mass market pieces are mostly metal and look very machine made.

MOVING ALONG

Tony reflects daily how art jewelry, as opposed to jewelry mass produced overseas, will be accepted by the general public.

Tony: “Art Jewelry is a term I use a lot in my marketing. At an apparel show, where people are used to mass produced jewelry, it’s starting to change in perception and openness to my product.”

Warren:“Is the world helping you change people’s perceptions, or do you feel you are out there alone doing this?”

Tony:“It will be four years in September since I started pursuing jewelry as a business. In my microworld, there has always been acceptance. My wife is very accepting, but at first was hesitant. I said, Let’s look at this year by year and see what happens. She gets it now.”

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Warren:“And in the broader world?”

Tony:“In the macro level, I think it’s interesting. I think if you look at the culture today, with technology and oversaturation and what is happening in mass market production, and fast fashion, which is down-trending, I think you’re having baby boomers that are looking for nostalgia in terms of smaller, handmade jewelry.”

He sees that consumer demand for artisan jewelry is on the rise, but there are still nagging questions whether you can make a viable business out of it. Can you make enough product? Can you do it efficiently? Can you transition from a one person designer business to having staff make the pieces, as well? Meeting business goals gets more complicated if you are not going to produce your jewelry overseas.

One of his biggest challenges coming up is to create sufficient infrastructure — studio space, supplies and personnel — to be able to easily kick out 30 pieces of 20 styles on demand.

MARKETING

Tony is natural marketer, so I asked him what kinds of things he does to reach his target audience. The extent of things he does can provide a lot of ideas and insights for all of us.

Tony:“I always try to make marketing creative so I still enjoy it.”

Things Tony Does…
– trunk shows at boutiques

– pop-up shows

– collaborates with fashion designers and creates evening events with them

– collaborates with sculptors, painters, and ceramic artists to do a joint show, say in a donated gallery space

– always thinking about marketing ideas which merge his interests in dance, photography, jewelry and sculpture

– for people who have bought, or even collect, his jewelry, he sends snail-mail postcards, hand-written notes, email blasts, and personal emails

– posts images with captions on instagram

– follows other people’s instagram sites with whom he feels some kind of fit or opportunity

– sometimes buys ads, but has not seen a risk/reward balance from purchased ads

– puts himself in situations where he can meet people, shake their hands, and talk with them

– develops relationships and works at maintaining them

– plays the “6-degrees of separation” game, identifying among his network of friends and relationships, who they know, who those people know, who those people of those people know, and so forth, to search for opportunities

– develops different strategies for returning customers as opposed to new customers

– visibly creates understanding that he sticks behind his products, and will immediately fix something if it breaks

– works with “influencers” — people who, usually in return for some free jewelry, will promote your products and show images of people wearing your products in social media sites

– looks for examples of “market-disrupters” — people who disrupt the market to be noticed — that he can be inspired by

– always carries samples with him

FUTURE PLANNING

Tony is a planner. He’s developed a clear vision for the future. Some of the things he wants to accomplish over the next 3 years include,

– maintaining a 60% year-over-year rate of growth

– grow from a more regional line to a national one

– focus on his infrastructure — studio space, materials and personnel — to keep production, shipping/receiving, website and marketing all on track

The big questions before him: How does he meet demand that he has created for his jewelry? How does he enhance his brand? How does he grow his ability to distribute his products?

He wants to contine to be flexible, given the instability of our economy. He wants to maintain his constant rate of sales so his business can sustain itself. He sees, perhaps, his line represented in a showroom. Perhaps he can gain more presence in museum shops.

Tony:“I have a lot of jobs right now and it would be great to have one focus. Or add a couple hours to the day.”

FINAL WORDS

Tony: “The true test of a good designer is an ability to sell it.”

Tony: “If I don’t get that gut feeling that my piece is going to be successful, it’s time to move on.”

Tony has had to create the opportunities himself. This has involved a lot of reflection, reality testing and planning. He has created a business plan framework with year over year goals for design, production, and distribution.

Tony:“In today’s world, you always have to be creating your own rules to stay on your feet. There is wide competition. Email inundation. I like the challenge but it’s exhausting.”

Tony: “Whether or not these jewelry artists work professionally, they need patrons, and that sometimes is even more important than being an artist.”

Tony wishes there was more of a connected jewelry designer/artist community in Nashville. It is still very fragmented. He finds that politics gets in the way of creative collaboration.

Tony:“There’s room at the table for everyone.”

He wants to call artists attention to the Arts and Business Council of Nashville, as well as their Periscope program. There are opportunities for networking, expanded contacts, a support system of creatives and their ideas, developing business skills and confidence.

Jewelry designers in Nashville still need a more functional, consistent support system, particularly to thread the business-needle better. Help to find studio space. Getting a small business loan. Finding an angel investor. Connecting to mentors. This is all important, and we need more organized systems to make these kinds of things easier, smoother and more reliable.

WHERE TO FIND TONY’S JEWELRY

Tony has taken a shot-gun approach to getting his jewelry out there. He does a little direct retail through an e-commerce site. He finds that this is a great billboard for him, but not a great selling outlet. He does art and craft festivals. He likes to focus on juried or well-curated shows in particular.

He wholesales his products to stores. Sometimes this involves cold-calling on stores, with product in hand. But he also does wholesale markets, like the Atlanta Gift and Apparel Market. In 2017, he did 2 shows there; in 2018, he plans on doing 4 shows. His pieces currently are in 28 stores in the United States and the Virgin Islands. He is looking at other wholesale markets. He is exploring options to lock in with a jewelry rep or a jewelry show room.

You may find Tony’s jewelry locally at:

Two Old Hippies (the Gulch)

401 12th Ave S, Nashville, TN 37203

Stacey Rhodes Boutique (Brentwood)

144 Franklin Rd Suite A, Brentwood, TN 37027

T. Nesbitt & Co. (Franklin)

2nd Ave N, Franklin, TN 37064

Kitty (East Nashville)

521 Gallatin Ave #2, Nashville, TN 37206

Tony has an eye out to find his ideal studio-showroom. He pictures it full of natural light. Small and intimate. A low wall separating the front from the studio. Inspirational and calming. A sancturary.

Find Tony online at www.lockandkeydesign.com









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Visit BE DAZZLED BEADS online to view our classes, jewelry clinics, mini-lessons, and jewelry design discussion seminars!

Shop with us online at Land of Odds

Talk with us about Custom Jewelry Design
and Jewelry Repairs

Visit us in Nashville

718 Thompson Lane, Ste 123

Nashville, TN 37204

615-292-0610
(across from 100 Oaks Mall where the Applebees Restaurant is)

 

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JEWELRY DESIGN: A Managed Process

Posted by learntobead on January 4, 2018

 

“Jewelry is art, but only art as it is worn.”

That’s a powerful idea, — “as it is worn” — but, when making jewelry, we somewhat ignore it.    We bury it somewhere in the back of our brains, so it doesn’t get in the way of what we are trying to do.   We relegate it to a phrase on the last page of a book we have promised ourselves to read sometime, so it doesn’t put any road blocks in front of our process of creation.

We like to follow steps, and are thrilled when a lot of the thinking has been done for us.  We like to make beautiful things.   But, we do not want to have to make a lot of choices.    We don’t want anything to disrupt our creative process.

We do not want to worry about and think about and agonize over jewelry “as it is to be worn.”    Let’s not deal with those movement, architectural, engineering, context, interpersonal and behavioral stuff.    We just want to make things.

To most artisans, making jewelry should never be work.   It should always be fun.

Making jewelry should be putting a lot of things on a table in front of you, and going for it.

Making jewelry just is.   It is not something we have to worry about managing.

It is easy to make, copy or mimic jewelry someone else has designed, either through kits or through imitation.

Making jewelry is doing.   Not thinking.

Creating.  Not managing.

We prefer to make jewelry distinct from any context in which it might be worn or sold.    We don’t want someone looking over our shoulder, while we create.   We don’t want to adjust any design choice we make because the client won’t like it, or, perhaps, it is out of fashion or color-shaded with colors not everyone likes.    Perhaps our design choices at-the-moment do not fit with the necessities associated with how we need to market our wares to sell them.  Our pieces might somehow be off-brand.

All too often, we avoid having to think about the difficult choices and tradeoffs we need to make, when searching for balance.  That is balance among aesthetics, functionality, context, materials and technique.    And balance between our needs as designers and the wearer’s needs, as well.   So, too, we shy aware from making any extra effort to please “others” or “them”. Even though this hardly makes sense if we want these “others” or “them” to wear our jewelry or buy our jewelry creations.

Everything comes down to a series of difficult choices.   We are resistant to making many of them.   So we ignore them.   We pretend they are choices better left to other people, though never fully sure who those other people are.     We yearn to be artists, but resign ourselves to be craftspersons.    We dabble with art, but avoid design.

We hate to make trade-offs between art and function; that is, allow something to be a little less beautiful so that it won’t break or not drape and move well when worn.    We hate to make things in colors or silhouettes we don’t like.    We hate to make the same design over and over again, even though it might be popular or sell well.

But make these kinds of choices we must!    Your jewelry is a reflection of the sum of these choices.    It is a reflection of you.    You as an artist.  You as a crafter.   You as architect and engineer.   You as social scientist.   You as a business person.   You as a designer.

So, the more we can anticipate what kinds of choices we need to make, and the more experience we have to successfully manage and maneuver within these choices, the more enjoyable and successful our jewelry designs become … and the more satisfying for the people for whom we make them.

 

JEWELRY DESIGN IS A MANAGEMENT PROCESS

Designers who are able to re-interpret the steps she or he go through and see them in “process” terms, that is, with organization and purpose, have the advantage.

There are many different kinds of choices to be made, but they are interdependent and connected.    Recognizing interdependency and connectedness makes it easier to learn about, visualize and execute these choices as part of an organized, deliberate and managed jewelry design process.

I am going to get on my soap box here.    We tend to teach students to very mechanically follow a series of steps.    We need, instead, to teach them “Process”.   Strategy.   Insight.   Connectedness.    Contingency.   Dependency.    Construction.    Context.    Problem-Solving.   Consequences.

Good jewelry design must answer questions and teach practitioners about managing the processes of anticipating the audience, selecting materials, implementing techniques, and constructing the piece from one end to the other.     Again, this is not a mechanical process.    Often, it is not a linear step-by-step pathway.    There is a lot of iteration – that is, the next choice made will limit some things and make more relevant other things which are to happen next.

A “process” is something to be managed, from beginning to end, as the designer’s knowledge, techniques and skills are put to the test.   That test could be very small-scale and simple, such as creating a piece of jewelry to give to someone as a gift.    Or creating a visual for a customer.    Or when you need to know the costs.   Or, that test could be very large-scale and more complex, such as convincing a sales agent to represent your jewelry in their showroom.

Better Jewelry Designers smartly manage their design processes at the boundary between jewelry and person.    It is at this boundary where all the interdependencies of all the various types of choices we designers make are clearest and have the most consequence.

 

WELL-DESIGNED JEWELRY MUST BE MANAGED
AT THE BOUNDARY BETWEEN JEWELRY AND PERSON

What exactly does it mean to “manage design at the boundary between jewelry and person?”  What kinds of things happen at that boundary?

A person breathes.   She moves.    She sits at a desk, perhaps fidgeting with her jewelry.     She might make sudden turns.    She gracefully transitions from one space to another.    She has shape, actually many shapes.

Her jewelry serves many purposes.    It signifies her as someone or something.     It expresses her feelings.   Or status.   Or future intentions.   Or past history.   It ties her to people and places, events and times.    It suggests power, or lack thereof.    It hides faults, and amplifies strengths.    It implies whether she fits with the situation.

Jewelry attracts.     It attracts seekers of the wearer’s attention.    It wards off denigrators.   It orients people to the world around them.    It tells them a story with enough symbol, clue and information to allow people to decide whether to flee or approach, run away or walk toward, hide or shine.

Jewelry has a feel and sparkle to it.    It reminds us that we are real.    It empowers a sensuality and a sexuality.    It elevates our esteem.     Sometimes uncomfortable or scratchy.   Sometimes not.    Sometimes reflective of our moods.  Othertimes not.

Jewelry is a shared experience.      It helps similar people find one another.   It signals what level of respect will be demanded.    It entices.   It repels.    It offers themes both desirable and otherwise.

Jewelry has shape, form and mechanics.    All the components must self-adjust to forces of movement, yet at the same time, not lose shape or form or maneuverability.    If a piece is designed to visually display in a particular way, forces cannot be allowed to disrupt its presentation.    Jewelry should take the shape of the body and move with the body.    It should not make a mockery of the body, or resist the body as it wants to express itself.

Jewelry defines a silhouette.    It draws a line on the body, often demarcating what to look at and what to look away from.    What to touch, and what to avoid.    What is important, and what is less so.

 

Managing here at the boundary between jewelry and person means understanding what wearing jewelry involves and is all about.     There is an especially high level of clarity at this boundary because it is here where the implications of any choice matters.

The choice of stringing material anticipates durability, movement, drape.    The choices of color and shape and silhouette anticipate aesthetics, tensions between light and shadow, context, the viewer’s needs or personality or preferences at the moment.    The choice of technique anticipates how best to coordinate choices about materials with purpose and objective.    The choice of price determines marketability, and where it’s out there, and whether it’s out there.

You choose Fireline cable thread and this choice means your piece will be stiffer, might hold a shape better, might resist the abrasion of beads, but also might mean less comfort or adaptability.

You choose cable wire and this choice means that your piece might not lay right or comfortably.    A necklace will be more likely to turn around on the neck.      It might make the wearer look clownish.    At the same time, it might make the stringing process go more quickly.  Efficiency translates into less money charged, and perhaps more sales.

You choose to mix opaque glass with gemstone beads, mixing media which do not necessarily interact with the eye and brain in the same way.   This may make interacting with the piece seem more like work or annoying.

The ends of your wirework will not keep from bending or unraveling, so you solder them.     Visually this disrupts the dance you achieve with wire bending and cheapens it.

You choose gray-toned beads to intersperse among your brightly colored ones.    The grays pick up the colors around them, adding vibrancy and resonance to your piece.    The gaps of light between each bead more easily fade away as the brain is tricked into filling them in with color.

You mix metalized plastic beads in with your Austrian crystal beads.    In a fortnight, the finish has chipped off all the plastic beads.

You construct a loom bracelet, flat, lacking depth or a sense of movement.    Your piece may be seen as pretty, but out of step with contemporary ideas of fashion, style, and design.

If we pretend our management choices here do not matter, we fool ourselves into thinking we are greater artists and designers than we really are.

 

JEWELRY DESIGN MANAGEMENT:
BUILDING A STRUCTURE AND ORGANIZATION FOR THINKING THROUGH DESIGN

Design management is multi-faceted.   We intuitively know that proper preparation prevents piss poor performance.     So let’s properly prepare.   This means…

  • PROJECT
    Defining what I do as a “Project To Be Managed” — My Project is seen as a “system”, not merely a set of steps. The “system” encompasses everything it takes that enables creativity and leads it to success.   These include things related to art, architecture, engineering, management, behavioral and context analysis, problem-solving, and innovation.    For some designers, these also include things related to business, marketing, branding, selling and cost-accounting.
  • INSPIRATION
    Documenting, through image, writing or both, the kinds of things that are inspiring me and influencing my design
  • PURPOSE
    Elaborating on the purpose or mission of my Project – why am I doing this Project as it applies to me, and as it applies to others?
  • SITUATION
    Measuring the context and situation as these will/might/could impact my Project
  • STRATEGY
    Developing a strategy for designing my piece — outlining everything that needs to come together to successfully work through my Project from beginning to end
  • SKILLS
    Verifying, Learning or Re-Learning the necessary techniques and skills
  • SUPPLIES
    Securing my supply chain to get all our materials, tools and supplies needed when I need them
  • CONSTRUCTION
    Applying design principles of composition, form and structure. Paying careful attention to building in architectural pre-requisites, particularly those involved with support, jointedness and movement.
  • SHOWCASE
    Introducing my Jewelry Design to a wider audience. This might involve sharing, show-casing, or marketing and selling
  • REPLICATION
    Anticipating all that it will take to replicate the piece, if it is not a one-off, especially if I am developing kits or selling my pieces
  • REFLECTION
    Evaluating whether I could repeat this or a similar Project with any greater efficiency or effectiveness – The better jewelry artist is one who is more reflective.

 

 

DESIGN THINKING

Designing jewelry demands that we both do and think.    Create and manage.    Experience and reflect.

The better Jewelry Designer sees any Project as a system of things, activities and outcomes.     These are interconnected and mutually dependent.    Things are sometimes linear, but most often iterative – a lot of back and forth and readjustments.

The better Jewelry Designer is very reflective.     She or he thinks about every detail, plays mental exercises of what-if analyses, monitors and evaluates all throughout the Project’s management.     She or he thinks through the implications of each choice made.    The Designer does not blindly follow a set of instructions without questioning them.

At the end of the day, your jewelry is the result of the decisions you made.

Something to think about.

 

 

HOW DO WE TEACH JEWELRY DESIGN THINKING
AS A MANAGEMENT PROCESS

We should teach students to design jewelry, not craft it.    Rather than have students merely follow a set of steps, we need to do what is called “Guided Thinking”.

For example, we might encourage students to construct and feel and touch similar pieces made with different materials, beads and techniques, and have them tell us what differences they perceive.   We should guide them in thinking through the implications for these differences.     When teaching a stitch, I typically have students make samples using two different beads – say a cylinder bead and a seed bead, and try two different stringing materials, say Fireline and Nymo threads.

We also should guide them in thinking through all the management and control issues they were experiencing.    Very often beginning students have difficulty finding a comfortable way to hold their pieces while working them.    I let them work a little on a project, stop them, and then ask them to explain what was difficult and what was not.     I suggest some alternative solutions – but do not impose a one-best-way – and have them try these solutions.    Then we discuss them, fine-tuning our thinking.

I link our developing discussions to some goals.    We want good thread management for a bead woven piece.    We want the beads to lay correctly within the piece.    We want the piece to feel fluid.    We return to Guided Thinking.     I summarize all the choices we have made in order to begin the project:   type of bead, size of bead, shape of bead, type of thread, strategy for holding the piece while working it, strategy for bringing the new bead to the work in progress.    I ask the students what ideas are emerging in their minds about how to bring all they have done so far together.

At this point, I usually would interject a Mini-Lesson, where I demonstrate, given the discussions, the smarter way to begin the Project.     In the Mini-Lesson, I “Think Aloud” so that my students can see and hear how I am approaching our Project.

And then I continue with Guided Thinking as we work through various sections of the Project towards completion.      Whatever we do – select materials, select and apply techniques, set goals, anticipate how we want the Project to end up – is shown as resulting from a managed process of thinking through our design.

In “Guided Thinking”, I would prompt my students to try to explain what is/is not going on, what is/is not working as desired, where the student hopes to end up, what seems to be enhancing/impeding getting there.

With guidance, demonstration and repetition, it is my hope that such thinking becomes a series of Thinking Routines my students resort to when starting a new project.    As students develop and internalize more Thinking Routines, they develop greater Fluency with design.

And that should be our primary goal as teachers:   developing our students’ Fluency with design.

 

Posted in Art or Craft?, bead weaving, beads, beadwork, business of craft, design management, jewelry design, jewelry making, Learn To Bead | Tagged: , , , | 1 Comment »

PRICING STRATEGIES

Posted by learntobead on August 1, 2014

PRICING STRATEGIES

Question:  How do you go about figuring how to price your jewelry?

 

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I teach a class on how to best price your jewelry, and I have posted a video tutorial on the CraftArtEdu.com website.
http://craftartedu.com/warren-feld-pricing-and-selling-your-jewelry-with-warren-feld

 

There are different kinds of pricing strategies.

(1) One type of pricing strategy is called “Keystoning”.

Keystoning is where you multiply your costs by 2, to arrive at your price.

 

If your costs were $10.00, then your price would be $20.00.

In the Jewelry Industry, you will hear a lot about Triple Keystoning.

Here you multiply your costs by 3. To arrive at your price.

So, if your costs were $10.00, then your price would be $30.00.

 

Keystoning works well if you are a boutique or gift store buying finished jewelry.    You would double (keystone) or triple (triple keystone) the costs of each finished piece.    Keystoning, as a pricing strategy, works well when you are dealing with finished goods.    The price is simply a multiple of the cost of the Parts.  Keystoning assumes that Labor and Overhead costs have already been factored into the cost of the jewelry.

Keystoning is a little more awkward to use, when dealing with manufacturing goods, like most jewelry designers do.    Keystoning tends to over-account for the cost of the Parts, but under-account for the costs of your Labor.

Keystoning works well for jewelry stores.    Keystoning does not work as well for jewelry designers.

 

 

(2) A second type of pricing strategy is called “What The Market Will Bear”

Here, based on your gut feelings, you would set the price at the highest price you think someone might pay for your piece.

You will see this strategy employed in a lot of tourist areas.   Businesses in tourist areas usually pay very high rental rates.   They are often dependent on making their money in a very defined seasonal timeframe.   They assume they will they will never see these customers again.

What happens with a What-The-Market-Will-Bear strategy…

At the point of sale, the customer goes away happy and the business goes away happy.   However, when the customer goes home,  and they show their purchase to their friends or family, or shop around, they begin to realize they overpaid.    So, over the medium and long term, the customer is no longer happy.   An unhappy customer can spread bad word of mouth.   While that particular customer may never revisit that tourist area.   They might convince their friends and families, who may plan a visit, to avoid that particular shop.

 

 

(3) The third type of strategy is called “Fair Value”.

This is what I teach in my class, and is detailed in my video tutorial. ‘.

A Fair Price is set, using a formula.   This formula requires that the artist manage all the types of costs she or he confronts, when setting a price.   These costs include,

COST OF PARTS (P)
LABOR (L)
OVERHEAD (O)

Overhead costs include things like rent, electricity, wear and tear on tools and equipment, telephone, travel – basically everything else associated with making and selling your jewelry.

 

The basic formula:

MINIMUM FAIR PRICE = (2 times P) + L + O
MAXIMUM FAIR PRICE = 1.5 times the Minimum Fair Price
You gather cost information on your Parts and your Labor.    You estimate the Overhead costs based on percentage of your Labor and Parts costs.
This gives you a range of fair prices from which to choose.

With a Fair Price, you may not get the highest amount you possibly can get, but you will get an amount that more than covers your costs, and leaves some money left over to spend on yourself, or re-invest in your business.

With a Fair Price, when you sell that piece of jewelry, both you and your customer go away happy.

And both of you stay happy.

 

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Promotional Discount – 4/24 and 4/25 only – Business of Craft Video Tutorials

Posted by learntobead on April 25, 2014

PROMOTIONAL DISCOUNT
Two Business of Craft Tutorials
Thurs 4/24 and Fri 4/25 only

I enjoy teaching about the business of craft.     Over the past 25 years, I’ve learned many insights about creating, marketing and selling jewelry.     Two of my video tutorials – “SO YOU WANT TO DO CRAFT SHOWS” and “PRICING AND SELLING YOUR JEWELRY” are available on the http://www.CraftArtEdu.com website.

 

CraftArtEdu.com is running a two-day – THURS, 4/24 and FRI, 4/25 only — special discount on these video tutorials, which you might take advantage of.  I’ve appended their promotional announcement below.

 

Warren

 

 

 

Ah, summer. It’s a time for county fairs, music and craft festivals! If you’ve ever considered selling your jewelry or other handmade items in local shows and venues, you know it’s a significant investment of both your time and money.  In this email, you’ll find two classes from Warren Feld that can help you avoid some costly mistakes and find success! Warren has over 20 years of selling experience – and he shares his hard-won lessons with you. We’re also featuring a few classes with projects that just might be fun to make and sell! All classes are at Super Deals (through Friday!) Enjoy! Donna Kato Founder, CraftArtEdu.com

So You Want to Do Craft Shows  with Warren Feld

You can make good money… IF you know what you’re doing. Warren shares his years of valuable experience and business expertise in the form of sixteen in-depth, approachable lessons so you can maximize your chances of success!  Jam-packed with practical, actionable information, Warren’s lessons cover everything involved in running a successful and profitable show including how to:

  • find, evaluate and select craft shows that are right for your work
  • set realistic goals, build a budget and calculate your break-even point
  • determine the amount and type of inventory you should bring
  • price your work and deal with “hagglers”
  • set up your booth for success, including design, layout and merchandising tips
  • handle cash, credit cards and deter shoplifters
  • and so much more.. this class is almost two hours long!

Warren includes lots of advice and helpful resource links, too. All you need to provide is a pencil, some paper, a calculator and your enthusiasm for running a successful, profitable craft show! Preview and Purchase Warren’s Class All Levels | $30 | $24 through Friday!

Pricing and Selling Your Jewelry  with Warren Feld

Can you make money by selling your jewelry? Yes, you can! Warren has years of experience selling jewelry at craft fairs, flea markets, on consignment, in galleries and eventually in his own store and online. In this class, he shares words of advice and everything he knows about the essential key to success: Smart Pricing! Preview and Purchase Warren’s Class! All Levels | $15 | $12 through Friday!“This class is worth its weight in gold. The information is presented in a clear and thorough manner. Warren shares his extensive knowledge in a very easy to understand format.” ~ Mary C

Add To Cart! These Bargains End Friday!Special Prices on These Classes Expire Midnight CT, Friday, April 25, 2014

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Selling Through Online Craft Marketplaces

Posted by learntobead on December 4, 2013

SETTING UP YOUR BUSINESS
AT CRAFT MARKETPLACES ONLINE

etsy-website

I recently posted an article I had read about selling on Etsy (http://www.today.com/money/etsy-nomics-lets-sellers-stitch-together-living-new-pattern-2D11591368) .    There was a big response, so I thought I’d do a little more research.     I have been selling online with my own websites for almost 20 years now, but have not had much experience with selling through these online marketplaces.

I have found that many people get frustrated with these sites, in that sales can be minimal, or the numbers of people they are competing with seems daunting.  But I have found these same people not doing all the necessary “good business” tasks, such as some intensive and persistent marketing of their wares, and smart photo and text detail for their pieces.

Question:  WHAT KINDS OF EXPERIENCES HAVE YOU HAD, and WHAT KINDS OF TIPS CAN YOU OFFER?

 

 

Here’s some of the things I have found.

First, there are many, many online marketplaces to choose from.   Some let you set up your own website, and others show your merchandise as part of a larger marketplace.  Each has pros and cons.    Perhaps one lesson is:
“Don’t put all your eggs in one basket.”

My list of these sites include:

Etsy
Zibbet
Artfire
overstock.com/mainstreet revolution
tophatter (an auction site)
Ebay (an auction site)
storeny
luulla
bigcartel
meylah
madeitmyself
handmadeartists
createinventandsell
thecraftstar
rubylane
dawanda
copious
1000markets
silkfair
ecrafter
supermarkethq
goodsmiths
freecraftfair
folksy
notmassproduced
market.poppytalkhandmade
jewelrywonder
ave21
jewelspan
artflock
bonanza
lilyshop
icraft.ca (Canada)
shophandmade

The PROS for any site:
– low commission on sales
– good traffic
– ease of setting up your shop
– having a lot of control over how your shop looks; how customizable it is
– no monthly fees
– web host does a lot of promotion
– site has a good search function
– site has good statistics, and lets you easily track traffic and what has sold, at what price point, and when, for both of your specific merchandise, as well as for all merchants with similar merchandise

 

The CONS for any site:
– high commissions and/or fees
– when site is too big, may be difficult to get noticed
– host limits how you list and present your items
– host restricts your contact with your customers

 

Other types of questions to ask:

– Does site handle the billing and payments for you?
– What kind of marketing does the site do?
– Is it relatively easy to set up your site and keep it updated?
– Are there are limitations on the numbers of items you might list at one time?
– Are there any limitations on the number or size of photos you can include on your site?
– How and where will your items appear in a search listing on the host’s site?
– What payment methods/options are allowed?
– Does the site restrict items to “Handmade” only, and how is “Handmade” defined?   You do not want to compete with cheap, imported, machine made jewelry.
– How easy is it to contact customer service?  Do they provide a lot of easy-to-follow tutorials for setting up and managing your site?

Different types of fees that might be assessed:
1. Listing fee
2. Sales commissions, usually as a percent of sale
3. Renewal fees (when listings are time limited)
4. Monthly site maintenance fees

 

Some Tips and Advice:

(1) Your items should be different enough from others to set you apart, and get you remembered
(2) If your items are similar to others, you might consider competing on price
(3) Do NOT depend on the host to promote your site; you must actively – that means, almost every day – do things to promote your site.
(4) Don’t just list your items and let them sit there
(5) Excellent photos are a must
(6) Treat your online shop as a business, not a hobby
(7) Categorize and label your jewelry and jewelry lines; picture the words someone might type into a search bar in order to find this jewelry, and use those as key words in your labeling
(8) Let your passion shine

Many, many people you will be competing with do not necessarily have good business sense, particularly when it comes to pricing their jewelry.    People, in general, tend to underprice their pieces.   They go out of business quickly.   But while they’re in business, you are competing with them, and often you find it hard to compete on price.

This is a given.  That means you have to spend more energy on marketing your competitive advantages, in order to justify the prices you need to charge, in order to stay in business.   Some of this will come down to better presentation – more facts and great detailed images about your jewelry, and  more details about the how your jewelry will benefit your customer.   Better presentation equals more trust; more trust should translate into more sales.   Some more competitive advantages: your jewelry is better made; it uses better materials; your line of jewelry is broader; you have better customer care policies; your style is more unique; your jewelry supports as “cause”.

And many, many more people you will be competing with have very good business sense.    There are over 6 million items of jewelry on sale on Etsy at any one time – many by sharp, savvy artists.   To get seen, heard and responded to takes emphasizing your competitive advantages, as well as persistent, broadly targeted marketing.

 

Posted in business of craft | Tagged: | 2 Comments »

HOW HAS TECHNOLOGY IMPACTED YOU AS A JEWELRY DESIGNER?

Posted by learntobead on August 26, 2013

 

HOW HAS TECHNOLOGY IMPACTED YOU AS A JEWELRY DESIGNER?

tech-3-d-print

The impact of technology on work and jobs was the focus of a recent opinion piece in the New York Times by David H. Autor and David Dorn.     And, as jewelry designers, we are living through and with all the positives and negatives that arise through this technological change.

How has technology affected what we do as designers?

How has it affected what we do to survive and thrive as designers?

Have we mechanized and computerized the jewelry design business into obsolescence?

How have you had to organize your jewelry designer lives differently?
given the rise of
-the internet,
-Ebay, Etsy and Amazon.com
-blogs, facebook, twitter, pinterest, instagram
-new technologies and materials like precious metal clay, polymer clay, crystal clay, 3-D printing

What has happened to your local bead stores?

What has happened to bead magazines?

If you teach classes for pay, or sell kits and instructions, how do you compete against the literally millions of online tutorials, classes, instructions and kits offered for free?    How does this affect what you teach or design to sell as kits?

If you sell jewelry, how do you compete against the 60,000,000 other people who sell jewelry online?   How does this affect your marketing, your pricing, your designs?

If you make part of your living doing a arts and crafts show circuit, will there still be a need for this in the future?

 

tech-3-d-print2

 

The authors in this NYT article pose the questions raised by several prominent authors and scholars:

Are we in danger of losing the “race against the machine?” (M.I.T. scholars Erik Brynjolfsson and Andrew McAfee)

Are we becoming enslaved to our “robot overlords,?” (journalist Kevin Drum warned in Mother Jones)

Do “smart machines” threaten us with “long-term misery?” (economists Jeffrey D. Sachs and Laurence J. Kotlikoff)

Have we reached “the end of labor?” (Noah Smith in The Atlantic)

 

tech-crystal-clay

 

 

Let me paraphrase these a bit in terms more specific to jewelry design and beadwork.

Does the reach of technology, through such vehicles as the Internet, make things so productive and efficient, that we no longer need so many people making jewelry, or teaching jewelry  making, or marketing businesses / products or selling the parts to make jewelry?

If we do not need so many people to design / teach / market / or sell, and there happen to be a lot of people doing this anyway, does this necessarily make the relative worth and price for any of these activities “$zero”?

Does all this technological efficiency diminish the act of “creativity”?   Now so many things can be standardized that everything – even the manufacture of complex pieces of jewelry through 3-D technology – can be reduced to a set of how-to instructions – mere recipes?

Has this technology reduced the need for bead magazines, and bead stores, and traditional classes?

 

 

 

 

On the other hand, technology has made jewelry design, and good jewelry design, more and more accessible to more and more people.

It has opened up a myriad of possibilities for people to explore their creative selves.

It has let jewelry designers reach a broader audience with their wares, their knowledge and their endeavors.

With new materials and technologies have come many new possibilities for creating jewelry.

It has made it easier for more people to get into the various jewelry design-related businesses.

It has made it easier to stay current and learn.

It has made it easier to meet and learn with fellow jewelry designers.

It has made it easier to mine big data, identify the most relevant target customers, and to market to them in very specific, cost-effective ways.

It has made it easier for retail outlets to find the merchandise they need to sell.

 

tech-internet

 

 

Some quick observations from my own professional life:

–          We have an elaborate curriculum of classes that we teach.   However, many of the beginning classes are becoming obsolete, in the sense that students can find similar classes on YouTube, in bead magazines, and throughout the internet, now for free.    The issue for us is how to adapt, given that one of our goals is still to charge money for these classes, and make money.   And a concurrent goal is to offer the student a learning opportunity worth the price paid.

–          Each year, we used to have 1 or 2 national level instructors do workshops at our store.    But it has become difficult to attract students.    There are so many projects easily available – including from these national-level instructors – that students started to indicate that their interests in these workshops had diminished.   They could do these same or similar projects on their own.

–          When we opened our store in 1991, there were few places for people to acquire what we sell.    Now there are almost 100 million places for people to go.    It is obvious that most of our in-store customers purchase more of their supplies online or through catalogs than they do in the store.

–          We used to do craft shows a long time ago.    But the cost of travel got very expensive, and, with the internet, people had more opportunity to find what we sold without going to the craft shows.

–          It used to be that the crux of our advertising dollars were spent with bead magazines.   No longer.   Bead magazines get a very small part of our advertising dollars.    I can remember when all our customers read the bead magazines to get all their information.   Now very few do.   Most have organized themselves into small groups in various social media sites.   To get your marketing message across, you have to spend a lot of time doing this online, and you can no longer market with a “broad brush”.   That is, it has become ever-more-difficult to reach people.

–          Our online business – Land of Odds – has been in existence since 1995.   It has gone through 6 technology upgrades/re-designs since then.    The e-commerce and website design technology moves and evolves so incredibly fast.   Personally this constant updating has been grueling. The site needs more re-design, but my motivation to learn and cope with yet another computer language and new sets of tasks has diminished.   Land of Odds was a pioneering online business.  But the very large bead companies have gotten their acts together online, and are much better capitalized to expand their operations.

Technology has been a dauntingly mixed bag for us.   On the negative side, the rapid advance and spread of technology has overwhelmed the various activities we do.   On the positive side, it has forced us to become ever more creative and ever more efficient in what we do.    It forces us to constantly re-define who we are and what we want to do.   And it forces us to constantly re-define how we do things.

What do you think?

Posted in bead weaving, beadwork, business of craft, jewelry design, jewelry making, Stitch 'n Bitch | Tagged: , , , , , , | Leave a Comment »

THE IMPORTANCE OF SELF-PROMOTION

Posted by learntobead on August 21, 2013

THE IMPORTANCE OF SELF-PROMOTION

wf-businesscard

If you are a jewelry designer who has ambitions to have your work publicized in books or magazines, or to be accepted into a juried show or exhibit, or to sell your things in a store or gallery, you need to be able to promote your work.     Often, I have found, creative-types can be shy when it comes to self-promotion and marketing.

What insights, from your own experiences, can you offer your fellow jewelry designers about self-promotion?

What kinds of things help you to overcome any fears about marketing your work?

How do you handle criticism and other rejection like getting the dreaded “No”?

From an article I wrote….

Jewelry designers often find a self-satisfaction in working intensely on a project, often in isolation or solitude.   But when it comes to tooting their own horns – this is not as easy or satisfying for them.   There is a discomfort here.     You might want to show your pieces to others, perhaps submitting them for review or a juried competition, or perhaps wanting a store or gallery to accept your pieces for sale.

Then humility kicks in.   Or perhaps a lack of confidence in yourself.   Or a fear of criticism.    Or a rejection.    Hearing: No, we don’t want your pieces.

We don’t want to appear desperate for a sale, or too eager for acceptance.

But, if you don’t believe in yourself and your products, no one will.      Your fantasy of striking out on your own will never materialize, if you don’t find it within yourself to do some self-promotion.

And the first step is understanding and recognizing that to promote yourself means promoting your value.

Your jewelry has VALUE to them, why….?     If something has value to someone, then they typically want to know about it.   Your jewelry has value to them because it solves a problem for them.   It might make them happier, more beautiful, more enriched, more satisfied, more powerful, more socially accepted, more understanding of construction or technique or art and aesthetics.    It might be better than other jewelry they see or wear or think about buying.

For a store or gallery, your jewelry might be more saleable, more attractive as displayed, better constructed, more artistic, more stylish or fashionable, a better fit with their customer base, with good price points.

You promote the value of your jewelry to your audience.   You do not have to brag.   You do not have to be shameless.   You do not have to do or say anything embarrassing.    Just speak the truth about value.   Share examples of your work and what you have done, not your ego.

And that brings up the second point – speakingPeople who are more comfortable speaking about themselves and their products tend to be more successful in their careers.

Products don’t sell themselves.   People need to be nudged.

This “speaking-about-themselves and their products” is a basic communication process.   This communication process is a process of sharing information.    You want to educate the right people, in the right way at the right time.    You want to speak about who you are, and what you make.   The values your jewelry has to offer them.    And how you would like to develop your relationship – whether designer/client or designer/retailer or designer/jury – so that you may both benefit.

Fundamentally self-promotion is about communication.   Communicators frame the narrative.   Communicators start the conversation.   They begin on favorable terms.    They would not say:  Would you like to see my jewelry?    Instead, they would say:  I have jewelry you are going to love.

And this brings up the third point – be relevant.

Know your audience, what their needs are, what their problems are that need solving.    You may have created the original piece to satisfying some personal yearning and desire.  But if you want someone to buy the piece, wear the piece or sell the piece, you need to anticipate why.   Why would they want to buy, wear, review or sell your piece of jewelry?

Do not assume they will figure all this out on their own.   You will need to help them along in this process.  You will need to communicate about the value your jewelry will have for them.   You will need to do some self-promotion.

The last point – inspire people to spread your message.

Your best marketing and promotion will be what is called “word-of-mouth”.   So you want to create supporters and fans and collaborators and colleagues.     And you want them to be inspired enough about you, your creativity and your jewelry, so that they tell others about you.     You inspire your current network of family and friends.   You might make a presentation or teach a class.  You might share images of your work on social media like FaceBook or Instagram or Twitter or Pinterest.     You want to regularly connect with people, so that you and your work are frequently in their thoughts.

There are many self-promotion strategies that you can do.   You don’t need to do everything at once.  You might try one or two ideas first, and do those, then pick a third, and so on.

Some Self-Promotion Strategies That Have Worked Well For Others

  1. Wear your jewelry all the time, and don’t be shy about saying you made it!
  2. Have attractive business cards  made, perhaps a brochure
  3. Have an active presence on social media, particularly FaceBook, Twitter, Pinterest, and Google+; participate in discussions; get people to click on those LIKE buttons (or similar thumbs-up registers) next to your images and your discussions
  4. Have a website, either as a “billboard”, or as a full-fledged e-commerce site
  5. Get your website listed in as many online directories and search engines as you can
  6. Generate a emailing list and use it regularly, such as sending out a newsletter; get into the habit of asking people if you can add them to your mailing list
  7. Collect testimonials about your work, and post them publicly
  8. Always speak and act passionately when discussing or showing your work
  9. Organize your own discussion groups on FaceBook and Google+, or begin a blog  (WORDPRESS is a good place to start a blog)
  10. Post video tutorials or videos showing you making things on YouTube
  11. Submit images of your pieces to bead, craft and jewelry magazines
  12. Teach courses, either locally, or as a connection with one of the many websites promoting teachers online, such as Betterfly.com or CraftArtEdu.com
  13. List yourself with websites that list custom jewelry makers for hire, such as Custommade.com
  14. If your jewelry has done well for a store, convince them to carry more of it and let it take up more display space
  15. Doing the occasional craft show, bazaar or flea market is also a good form of advertising and getting your message out to a large number of people you probably would never have met otherwise
  16. Create a good, rememberable image to use as your avatar, on such websites as FaceBook
  17. Follow up with customers and contacts, such as after a purchase, or after someone accepting to include you piece in a magazine, or sell their pieces in a shop.   Thank them.   Reinforce your personal brand with a short comment about the value of your pieces for them.
  18. Have a clear personal style that you can point to in your jewelry, and that you can speak about.
  19. Have a clear idea of what is called your “competitive advantage”.   What are those 5-10 things about you and your work that sets you apart from, and perhaps makes you better than, the competition.
  20. Search for companies or people that may want to see or buy your work.   Use directories on Yahoo and Google.   Use LinkedIn.com.    Search Twitter looking for people who are saying they need custom jewelry work done.
  21. Network with other jewelry designers, both in your local area, as well as online.   Ask for feedback on the self-promotional activities you are doing.  Have any of these worked well for them?   Are they doing other things you haven’t thought of?
  22. Get out of your studio and meet people in the flesh.
  23. Attend trade shows, networking events and charity events, or other types of places where your clients might also attend.
  24. Offer something – one time only — for free.    A free class, a free repair, a free pair of earrings.
  25. Publish or self-publish a book or book-on-CD, and promote that

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HOW NOT TO SHOP IN A BEAD STORE

Posted by learntobead on June 9, 2013

HOW NOT TO SHOP IN A BEAD STORE

newbdfront5

Shopping in a bead store presents many overwhelming challenges — all the parts, all the colors, all the sizes, all the project possibilities. Many customers, when confronted with all these options, freeze up and get frustrated.

So, how SHOULD you shop, and how SHOULD YOU NOT shop in a bead store?

Any interesting stories out there?

What was your first trip to a bead store like.

beads4

From an article I wrote….
— Warren

HOW NOT TO SHOP

To the consternation of staff, many a Bead Warrior, as they prepare to arrive at the field of bead-selection-battle, have not properly armed themselves.

They arrive by car. They arrive by taxi. They arrive on foot. But rarely do they arrive with a design plan in hand.

They arrive with ideas swimming in their heads, from magazine articles they’ve recently read, or advertisements they’ve seen, or dreams they’ve had. And it’s all in their heads.

And when they arrive at the door, then cross the threshold, there are too many intimidating choices confronting them, attacking them from the right and the left and forward and behind, and off to the side, and down the aisle, and over and around the corner.

The knitted scarf lady ready to conquer the bead world and find that blue bead for her fringe. But no yarn in hand. And there are so many blue beads. No sense of which blue will match. No sense of hole size. No idea what needle to use. Or how to get the beads on. Which “blue?” I asked, pointing to the 37 choices. Without a word, without any response to my question, she grabbed her purse and walked out.

A woman had a list of 17 items she needed for a project. We had 16 of these items in stock. The one thing we didn’t have was one color of a delica bead. I suggested some good substitutions. After all, there are almost 2000 colors of delica beads to choose from. She put all 16 items back, and walked out.

The fashion icon determined to turn a brief visit to the bead store into ultimate world conquest, withOUT her recently perused copy of the latest of the latest from the best of the best style magazine. But no picture in hand. And there are so many beads and chains to choose from. No remembrance of what she had seen. No idea of how to attach things. No clue about finishing off the piece.

The bead-weaver, knowing full well that success is just over that hill, a straight march, and that her right-angle-weave necklace will hup-two appear without much of a scuffle. Or tussle. Or hassle. Or, whatever else might get in her way. Yet no instructions. No supply list. No knowledge of stringing materials or tools.

The woman in need of jewelry repairs. No jewelry with her. Wants that bead or rhinestone or clasp to make her jewelry complete. Which is at home. And she can’t remember. Doesn’t know sizes. Vague on colors. Forgets materials. Clueless on attachments.

The woman who returns everything she doesn’t use – and then buys the same items for the next project which happens to use the same pieces. She frequently makes the 25-mile round trip to return even 1 bead not used. And then re-buys this very same bead on her very next trip on the very next week.

The student who wants a bail for a pendant, has left that pendant at home, and doesn’t remember which direction the hole is drilled.

The knowledge is all to be won – at the bead store. The field of battle. Shock and awe. Little preparation. Few soldiers. Few weapons. A daunting walk across the entrance, and that’s all it will take. To win. To accomplish. To finish. To conquer.

The lesson, not to be lost here, is that you need to come prepared. Sufficiently armed. Some forethought. Some planning. Some thought-through concept. Some willingness to make compromises.

The field of battle is very large. The opposing forces are onerous. Over 6,000 specifically named colors. Thousands of styles and sizes and shapes of beads. Nearly 20,000 individually named metal parts. Fifteen different kinds of metals. Forty-two possibilities of metal finishes. Nearly 500 choices of stringing materials. Sixteen separate types of needles. Too numerous to count issues of quality and pricing.

Posted in business of craft, jewelry making | Tagged: , , | 4 Comments »

So You Want To Do Craft Shows…

Posted by learntobead on May 8, 2013

SO YOU WANT TO DO CRAFT SHOWS…
New CraftArtEdu.com Video Tutorial By Warren Feld
http://www.craftartedu.com/warren-feld-so-you-want-to-do-craft-shows

cf-naples-fair2
In this class, presented in 6 parts with 16 lessons, artist and businessman, Warren Feld, will fill you in on the ins and outs, the dos and the don’ts of selling at craft shows and fairs. Which are best for you, which may be a waste of your time. How to compute the revenue you must earn to justify participating in an event. This is a must see class for anyone thinking of entering the art and craft show world and will maximize your chances of success in these venues. 6 Broadcasts.
Price:
$30
Level: All Levels
Duration: 113:58

Posted in bead weaving, beads, beadwork, business of craft, jewelry making, Resources | Tagged: , , , , , | Leave a Comment »

Pricing And Selling Your Jewelry – Video Class OnLine

Posted by learntobead on October 4, 2012

PRICING AND SELLING YOUR JEWELRY

Our class is now available online at CraftArtEdu.com

Learn how to achieve “fair pricing” for your art with businessman/ artist, Warren Feld. Understand your role in the world of jewelry commerce and how to make money by doing what you love, through fair pricing of your work. No handout is included in this class.

“TODAY’S LESSON IS ABOUT ONE KEY TO SUCCESS: SMART PRICING.

WE DISCUSS WHY JEWELRY SELLS.

WE GO OVER DIFFERENT KINDS OF PRICING STRATEGIES USED BY JEWELRY DESIGNERS AND THE JEWELRY INDUSTRY.

I PRESENT A SIMPLE MATHEMATICAL PRICING FORMULA.

I EXPLAIN THE FORMULA, AND BREAK THIS DOWN INTO LITTLE STEPS.

THEN WE PRACTICE APPLYING THE FORMULA AND PRICING SOME PIECES OF JEWELRY.

AT THE END OF THE LESSON, I DISCUSS THE DIFFERENCES AMONG RETAIL, WHOLESALE AND CONSIGNMENT.

I BRIEFLY DISCUSS SOME KEY BUSINESS STRATEGIES WHICH ARE VERY RELATED TO PRICING.

AND I OFFER SOME FINAL WORDS OF ADVICE.

Price: $15
Media: Jewelry
Level: Beginner
Duration: 51:09

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Creative Mentoring – Andrea Rosenfeld

Posted by learntobead on October 25, 2011

Creative Mentoring – Andrea Rosenfeld

http://www.savorthesuccess.com/member/andrea-rosenfeld
http://openstudiocoach.com/
http://openstudiocoach.com/about-andrea-rosenfeld-coaching/articles/ 

 

I recently came across an article Andrea Rosenfeld had written about Creative Mentoring.   I thoroughly enjoyed the article, her extremely clear and accessible writing style, and was very interested in taking a little internet road trip to her website.

How do you take your passion and your art work to an audience?    I deal with this type of question from our students and customers almost every single day.

She offers many ideas and many services.     I suggest reading some of her articles are articles by “visiting creatives”  for special insights.

 

 

Articles to Grow By

 

~OPEN STUDIO~

 

 

Broadcast Louder helps Artists supercharge their creative business, starting them on the path to more visibility and more sales

Playing it Safe in Your Studio

Time Management Strategies That Play Nice

Marketing your Art Business using Retail and Wholesale Sneezers and Brand Advocates

10-Tips to Stay Organized and Increase Creativity

Are You Vibrating Yet? Here’s Why You Should Flip Your “ON” Switch

Are you an Expert or an Experimenter? Your sales strategy depends on your answer

Is Your Website Scaring People Away?

Visual Art Copyrighting Basics

Looking For Trade Show Stories For Upcoming Article (Interactive Article)

How to Create a Healthy Relationship With Money to Gain More

Dear Creative – DON’T do-it-yourself!

Should You Create Art or Create to Sell?

Court Your Stores

Dear Creative, Don’t Do It Yourself

Who is Your Customer, Who Are You?

Would You Dance? *how do you handle adversity?

Look Up! You’re Missing Life! 

Five Important Things to Know Before Doing a Store Show 

Collaboration is KEY to Artistic Growth 

Why We Need Art 

Tips a Jewelry Artist Can Use to Survive the Economy (or any Creative, for that matter) 

 

~VISITING CREATIVE AUTHORS~

WordPress for Beginners

WordPress for the Savvy

WordPress: Who’s Sharing Your Content and Increase Blog Performance

Ready for wholesale? Find out with this MUST-HAVE Checklist

Grow Your Business Through Charitable Giving

Tips For Running a Successful Small Business Publicity Campaign

Why You Should Join Local Art Associations to Increase Your Art Business

How to Bounce Back from Disappointment and Manage Your Thoughts

Jewelry Artist’s Guide to Diamond Buying (Part One- Beginner)

 

 

 

Posted in business of craft, jewelry design, jewelry making | Tagged: , , , , , | 1 Comment »

A Novel Way To Fund Creativity

Posted by learntobead on July 28, 2011

KICKSTARTER.COM
A Novel Way To Fund Creativity

I had recently read an article about Kristy Lin, a jewelry artist who was attempting to launch a new jewelry line, and was searching for money.   She turned to a website called Kickstarter.com to get some assistance in creating a fund-raising campaign.    Now-a-days, you need to be very creative to get your creative endeavors off to a start.

Kickstarter.com is one of a new set of fundraising platforms called “crowdfunding”.    The website facilitates gathering monetary resources from the general public.   This model circumvents traditional avenues for raising money.

People must apply to Kickstarter to have a project posted on the site.   Projects are promoted for a fixed timeframe.  They have millions of visitors to their site daily.  They can invest as little as $1.00.   The artist much reach the full target amount to receive any funds.   Otherwise, no funds are provided.     Kickstarter keeps 5% of the funds raised.    They do NOT keep any rights over your intellectual property.

Kickstarter offers an online tutorial for how to package and write up your project for maximum impact.

They promote both big and small projects.   They define a “small” project as something a group of friends might want to accomplish in a weekend.

And Kristy Lin was successful.   She sought $10,000 in start-up funds, and received $10,015 within the alotted time.   Click Kristy‘s name to view her Kickstarter.com campaign.

 

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Jewelry Appraisals

Posted by learntobead on July 28, 2011

Jewelry Appraisals

Homeowners insurance rarely covers the full value of jewelry, in the event of loss or theft.

To cover the full value of your fine jewelry or collectible art jewelry, you should have a professional appraiser evaluate each piece, and then have it covered by your insurance as a separate policy or attachment to your current policy.

Choosing A Qualified Appraiser

Check out the following:
1. Educational Background.    Certified gemologist?  Certified jewelry appraiser?   Training by American Society of Appraisers?

2. Does the jewelry appraiser follow the Uniform Standard of Professional Appraisal Practice (USPAP)?  Not a requirement, but a good indicator of quality.

3. Works full time as an appraiser.

4. Associated with a jewelry store or manufacturer

5. Ask for references.   Especially from other professionals, such as banks, lawyers, or trust companies.

6. How does the appraiser charge? The fee for a professional appraisal should only be on an hourly rate or a piece rate based on time and complexity, and never a percentage of the value of the item appraised.

Be prepared to give the appraiser any documentation you have, such as receipts.
Be prepared to be charged a flat fee up front, typically $50.00 or more.
Verify with your insurance company how often they require appraisals, for the insurance to remain valid.

 

Valuing Costume Jewelry

Most costume jewelry has little inherent value because it is not made from precious metals or with precious stones.

So, the value of costume jewelry has to do with such things as:

Desirability
Condition
Re-Sale Value
Sentimentality

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Any Lessons To Learn From Nail Polish Trends?

Posted by learntobead on July 1, 2011

Any Lessons To Learn
From Nail Polish Trends?
http://www.nytimes.com/roomfordebate/2011/06/30/why-did-wild-nail-polish-go-mainstream-10/nail-polish-is-the-new-lipstick

From Alllacqueredup.com

I read this article recently in the NYT, how women are using many more colors of nail polish than the traditional reds and pinks, and that the use of the full color palette of nail polish colors is getting very institutionalized and accepted.

The writer offers a point of view here for discussion.   Her main point, is that in an era of a weak economy, Chanel nail polish offers at a much lower cost the same cache as purchasing the more expensive Chanel perfume or clothing.   People still want status and the qualities associated with it.   They can not afford the top of the line items they used to.

Many of us are in the business of selling jewelry.     In this economy, how do we survive and thrive as a jewelry design business?   How do we preserve our brand — especially if most of what we sell is on the high-end side?

Is it enough to lower our price points?  Or must we also maintain very visible links and symbols to ideas of status, quality and sophistication?    And if we are to stand out from the pack, should we push things like out of the ordinary colors, textures and patterns?   How far do we push things like color, texture and pattern, to get noticed?   How far can we push these kinds of things, and still be accepted?

 

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Tiffany Video

Posted by learntobead on March 12, 2011

Tiffany Video
Opening of their Flagship Beijing Store

http://www.youtube.com/watch?v=JbDRbqemEDc

 

On October 29, Tiffany lit up the night sky in a groundbreaking extravaganza. In anticipation of the December 2010 opening of the new Tiffany Beijing flagship, a breathtaking display was projected onto the store’s façade, with jewels coming to life in astounding 4-D.

This is a great video.  Runs 3 min 21 seconds.

These videos are also related to their Beijing opening:
http://www.youtube.com/tiffanyandco#p/c/92DD5FB78BCC2BC8/1/jYEuofkrhXM

http://www.youtube.com/tiffanyandco#p/c/92DD5FB78BCC2BC8/3/4L3uE6sJ50s

 

 

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Tiffany also makes some great marketing use of YouTube.    Here’s where you’ll find some of their other videos:

http://www.youtube.com/tiffanyandco

 

 

 

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