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Archive for the ‘business of craft’ Category

THE JEWELERS’ PALETTE, 11/15/2024

Posted by learntobead on November 12, 2024

The Jewelers’ Palette, 11/15/2024

Join my community of jewelry designers on my Patreon hub
From Warren and
Land of Odds

Use November’s Discount Code For Extra 25% Off @Land of Odds:
NOVEMBER25
www.landofodds.com

November 15, 2024

Hi everyone,

Some Updates and Things Happening.
(Please share this newsletter)

1. I have been participating with the Columbia TN Arts Council over the last several months. Their major tasks are to develop a sense of community among artists (broadly defined), and a sense of place in a several block area off the downtown identified as the Columbia Arts District. I wrote a visioning plan for this District which I want to share, and welcome any feedback and ideas for programs, and community and economic development.

Read the full plan here.

The Columbia ARTS DISTRICT (CAD) was created to provide a haven for artists to live and work. The CAD is located a few blocks from Downtown Columbia in the South Garden/High Street area. The City has established historic zoning overlays to protect historic and cultural assets that include distinct neighborhoods like the ARTS DISTRICT. The area currently comprises several blocks of old warehouses, old houses (some historically significant), mobile homes and manufactured homes, and vacant lots. One warehouse building was turned into a multi-story mix of artist studios, retail spaces, coffee house, some office space. There are some restaurants and specialty shops in the District, but not many. Columbia is a small town of about 45,000 residents, growing 2–3% annually, and is located about 45 miles south of Nashville.

The BIG question for me was whether you can create a community-based Arts District, where the focus and energy emerge from how the community interacts with and finds meaningful experiences within the space, rather than focusing on physical design per se.

My SECONDARY question was whether a District designed to bring artists to live, work and play together can remain competitively viable over time, or will the community either lose interest or will the area become so attractive that gentrification negates its original reason for being. Time will tell, … as will smart thinking, planning, and cooperative partnering.

What makes a space into a place? Placemaking inspires people to collectively reimagine and reinvent public spaces as the heart of every community. Strengthening the connection between people and the places they share, placemaking refers to a collaborative process by which we can shape our public realm in order to maximize shared value. More than just promoting better urban design, placemaking facilitates creative patterns of use, paying particular attention to the physical, cultural, and social identities that define a place and support its ongoing evolution.

Great public spaces are those places where celebrations are held, social and economic exchanges occur, friends run into each other, and cultures mix. They are the “front porches” of our public institutions — libraries, field houses, schools — where we interact with each other and government. When these spaces work well, they serve as the stage for our public lives.

Read the full plan here.

2. I created several kits using leather cord and larger hole glass beads, and call your attention to these. They make great gifts!

Beads On Leather Kits
@Land of Odds
https://landofodds.com/beads-on-leather/

LATTICEWORKS BRACELET
Criss-crossed leather full of unusual glass belly donut rondelle beads.

STREETSENSE BRACELET
When you walk down the street, everyone knows you’re with it.

WALK-A-BOUTS BRACELET
A hip bracelet for those casual occasions.

Beads On Leather Kits
@Land of Odds
https://landofodds.com/beads-on-leather/

3. I encourage you to take advantage of the very low prices of delica beads on the Land of Odds website.

Compare Our Prices To What You Are Paying:

In this monthly newsletter, occasionally, like in this newsletter, you will find a discount coupon code that you can use on the Land of Odds website.

You can also become a paid subscribing member on our Jewelry Designers’ Patreon Hub, which entitles you to a 25% discount as long as you maintain your subscription.

4. If you have the resources, I strongly suggest you look into furthering your jewelry design education by attending a degree program. Here are the top 30 jewelry design programs in the United States:

Here are some of the leading jewelry design programs in the United States, known for their specialized curriculums, faculty expertise, and facilities. While specific rankings can vary by source, these schools are widely regarded as some of the best for jewelry design.

1. Rhode Island School of Design (RISD) — Providence, RI

Offers a strong focus on metalwork, traditional jewelry techniques, and contemporary design principles.

2. Savannah College of Art and Design (SCAD) — Savannah, GA

Provides a comprehensive approach with state-of-the-art facilities and focuses on various facets of jewelry design and business.

3. Fashion Institute of Technology (FIT) — New York, NY

Known for hands-on learning and access to New York City’s fashion and jewelry industry.

4. California College of the Arts (CCA) — San Francisco, CA

Emphasizes interdisciplinary approaches and sustainable design practices.

5. Parsons School of Design — New York, NY

Offers access to an extensive network in the fashion and luxury sectors, with an emphasis on innovative design.

6. Pratt Institute — Brooklyn, NY

Known for a strong arts program and a metal/jewelry design program focused on both technical skills and creativity.

7. Cranbrook Academy of Art — Bloomfield Hills, MI

Known for a small student body and intensive, personalized instruction.

8. University of the Arts — Philadelphia, PA

Offers a jewelry and metals program that includes contemporary jewelry, metalsmithing, and interdisciplinary work.

9. School of the Art Institute of Chicago (SAIC) — Chicago, IL

Known for an experimental approach that blends traditional and digital techniques.

10. Temple University’s Tyler School of Art — Philadelphia, PA

Focuses on combining creative expression with technical skill development.

11. University of Washington — Seattle, WA

Known for a broad curriculum that includes both traditional metalworking and experimental materials.

12. Virginia Commonwealth University (VCU) — Richmond, VA

Offers a BFA in Craft and Material Studies with a focus on metals and jewelry.

13. SUNY New Paltz — New Paltz, NY

Known for its Metal/Jewelry Design program that integrates both artistic development and technical skill.

14. Massachusetts College of Art and Design (MassArt) — Boston, MA

Offers a program with a focus on metalsmithing, jewelry, and art history.

15. University of Oregon — Eugene, OR

Known for a jewelry program that encourages both traditional and experimental methods.

16. California State University, Long Beach (CSULB) — Long Beach, CA

Offers a BFA in 3D Media focusing on metal and jewelry arts.

17. University of Georgia — Athens, GA

Strong focus on craftsmanship and a broad approach to metal and jewelry design.

18. University of Kansas — Lawrence, KS

The jewelry and metals program is known for its commitment to traditional techniques and design principles.

19. Texas State University — San Marcos, TX

Offers a BFA with a concentration in Metals and Jewelry, focusing on both technique and conceptual development.

20. Indiana University Bloomington — Bloomington, IN

Known for its craft-focused metalsmithing program, including traditional and contemporary approaches.

21. North Bennet Street School — Boston, MA

Provides a specialized training program in jewelry-making with a focus on bench skills and craftsmanship.

22. College for Creative Studies (CCS) — Detroit, MI

Focuses on both jewelry and metalsmithing, providing a solid technical foundation.

23. Kent State University — Kent, OH

Offers a jewelry/metals concentration that emphasizes craftsmanship and innovative design.

24. University of Illinois at Urbana-Champaign — Champaign, IL

Known for an interdisciplinary approach, blending jewelry design with broader art and design disciplines.

25. Rochester Institute of Technology (RIT) — Rochester, NY

The School for American Crafts at RIT is highly regarded for its jewelry and metals programs.

26. Appalachian State University — Boone, NC

Offers a focused jewelry and metals concentration that emphasizes skill development and conceptual work.

27. University of North Texas (UNT) — Denton, TX

Known for a metals and jewelry program that encourages experimentation and craftsmanship.

28. University of Wisconsin-Milwaukee (UWM) — Milwaukee, WI

Provides a curriculum that emphasizes both skill and design in jewelry-making.

29. Arizona State University (ASU) — Tempe, AZ

Offers a robust jewelry program as part of its larger art program, with access to a variety of tools and techniques.

30. Oregon College of Art and Craft (OCAC) — Portland, OR

Although it closed in 2019, its legacy remains influential, and several of its faculty and alumni continue to contribute to the field.

Each program has unique strengths, from technical skills to conceptual approaches and connections to the industry.

5. I wanted to share this email I received from Miguel Mayher at the Professional Artists Assn. We were beginning to discuss the need to be consistent in using Instagram and Emails to promote our businesses. I had brought up that it was difficult to maintain my motivation, especially given the time it takes to use social media.

Hi warren feld,

Yesterday, we talked about feeling overwhelmed.

Overwhelmed by the amount of energy and time that seems required to stay up to date on Instagram & your Email Newsletters.

And how that can hold you back from getting the consistent art income you desire.

Today, I want to dive deeper into why this feeling is SO COMMON in artists and what’s actually causing it.

📱 There are over *2 billion* monthly active users on Instagram.
🤯 And when you open the feed, it can be overwhelming.
🙅🏻‍♀️ It’s enough to make an established artist yell “nope!”…

…and close the app immediately, never to open it again.

Avoiding Instagram & Email doesn’t just stop you from using the tools, it also affects your entire “sharing your journey” workflow.

Some artists hold their cards close to their chest, but then expect strangers to buy the finished artwork at first glance.

Because when you’re opposed to these tools (and yes, they are just tools), you’re left waiting until you finish every artwork before you share it.

Or even worse — waiting for your next “show” to announce it to the world.

Then your audience doesn’t feel like they were part of that creative process…
…they are not invested in your artist journey…
…because you are not sharing it with them.

And so surprise, surprise… they are not “bought in”.

Maybe you do end up sending that jam-packed newsletter with a smorgasbord of updates about the last 6 months…

….not QUITE what you wanted, but you settle, “good enough I guess…”.

And a whole world of steady monthly direct sales seems out of reach for you.

Here’s the truth though… it’s not your fault:

Instagram is a hungry beast and the algorithm does reward consistency.
Emails are easy for writers, using WORDS, but not for most visual artists.

So without a good framework to simplify all this, it’s natural to get lost.

The big problem is the time and energy required to keep the Instagram & Email wheels turning…

👨‍👩‍👧‍👦 Competes with your family time
🎨 Competes with your studio time
🤹‍♀️ Competes with “life’s demands” time

And so how can you justify investing your precious time and energy in them?

You don’t have a simple system to navigate the sea of online art marketing.

If you had a clear system, it’d be hard to get lost, even if you’re an introvert.

I have an amazingly simple framework to share with you at the end of this week, but for now, here’s some encouragement…

❌ You DON’T need to POST EVERY DAY.
❌ You DON’T need to EMAIL EVERY WEEK.

And most importantly… stop thinking of your newsletters as NEWS.

Start thinking of them as Letters, or even better, POSTCARDS.

They are a casual conversation.
Ideally one single topic per email.
And they either share your journey… or give an opportunity to buy from you.

No middle ground.

I know even this is a lot easier said than done, but don’t worry, over the next few days I’ll be holding your hand and helping you out.

In tomorrow’s email, I’ll share a simple framework that will help you look at your online marketing as an enjoyable documenting of your journey.

Even if you are not a writer.

Talk soon,

Miguel

Director of Education
The Professional Artist Association
ProfessionalArtist.com
P.S.
Remember, feeling overwhelmed is normal, but it doesn’t have to stop you.

6. I’ve added additional articles to my collection HOW TO BEAD A ROGUE ELEPHANT. Check these out:

TRANSITIONS
A piece of jewelry is a series of sections, each integral to the piece, which must flow together visually and functionally. For example, transitioning from the strap to the centerpiece. How the jewelry designer manages the transitions between each section will determine to a great degree the success of the piece.

DOUBT / SELF-DOUBT
For the novice, all that excitement at the beginning, when thinking about making jewelry and making some pieces, sometimes collides with a wall of developing self-doubt. It’s not easy to quiet a doubt. Doubt may hold you back, but it can also be seen as an opportunity.

7. I liked this recent quote from KLIMT02

But the artist appeals to that part of our being which is not dependent on wisdom, to that in us which is a gift and not an acquisition- and, therefore, more permanently enduring. He speaks to our capacity for delight and wonder, to the sense of mystery surrounding our lives; to our sense of pity, and beauty, and pain; to the latent feeling of fellowship with all creation- and to the subtle but invincible conviction of solidarity that knits together the loneliness of innumerable hearts, to the solidarity in dreams, in joy, in sorrow, in aspirations, in illusions, in hope, in fear, which binds men to each other, which binds together all humanity- the dead to the living and the living to the unborn. / Joseph Conrad

8. Now is a good time to begin planning for enrichment travel and skills development opportunities you might take advantage of in 2025. Here are some ideas:

Here are 20 jewelry-related travel and learning opportunities in 2025, perfect for designers and enthusiasts who want hands-on experience, cultural immersion, and networking:

Tucson Gem and Mineral Show — This iconic show offers a variety of workshops in jewelry making and design (Feb 8–11, Tucson, AZ). More information: Tucson Gem and Mineral Show.
Colors of the Stone — Held in Tucson alongside the Gem Show, with classes in bead making, metal clay, enameling, and more (Feb 1–8, 2025). Details: Colors of the Stone
Santa Fe Symposium — An annual jewelry technology conference, ideal for designers interested in advanced techniques and business insights (Santa Fe, NM). Find details at Santa Fe Symposium.
Pasadena Bead & Design Show — Featuring jewelry making and design workshops, Pasadena’s show offers a space for artists and buyers (Jan 17–19, 2025). Learn more: Bead & Design Shows
Studio di Mare — Sogni d’Oro — In Italy, join immersive jewelry retreats that blend cultural exploration with expert-led classes in enameling and stone setting (Summer 2025, San Mango Piemonte). More info: Studio di Mare
Great Bead Escape Retreat — A jewelry workshop retreat in Florida offering classes by skilled instructors, suitable for beginners and experienced crafters alike (April 23–27, 2025, Live Oak, FL). Explore more: The Great Bead Escape
Marin Arts & Crafts Show — A blend of jewelry and fine arts workshops in a scenic setting, ideal for creatives (Mar 7–9, 2025, San Rafael, CA). Details at Marin Arts & Crafts Show.
Jewelry Arts Academy — Florence — Offers jewelry design and goldsmithing programs with Italian artisans in Florence. Contact them at Jewelry Arts Academy.
SNAG Conference — Society of North American Goldsmiths hosts its annual conference with workshops and talks on metalsmithing and jewelry (Spring 2025, Location TBA). Info: SNAG Conference.
Ecole des Arts Joailliers — A prestigious Parisian school offering workshops and courses on traditional French jewelry techniques. Check out L’École Van Cleef & Arpels.
Penland School of Craft — Located in North Carolina, Penland offers workshops in metalworking and jewelry design throughout the year. Discover more: Penland School.
Istanbul Jewelry Show — Workshops and networking in a historic jewelry hub, with thousands of international jewelers (March 2025, Istanbul, Turkey). Info at Istanbul Jewelry Show.
John C. Campbell Folk School — This school in North Carolina provides jewelry and metalsmithing workshops year-round in a peaceful, rural setting. See John C. Campbell Folk School.
Munich Jewellery Week — An annual celebration of contemporary jewelry art in Munich, Germany, with exhibitions, talks, and workshops (March 2025). Visit Munich Jewellery Week.
Craft in America Jewelry Residency — A Los Angeles residency offering workshops, talks, and mentorship for emerging jewelers. Find out more at Craft in America.
Arrowmont School of Arts and Crafts — Tennessee-based school offers multi-day workshops in metals and jewelry design. Learn more: Arrowmont.
American Jewelry Design Council Workshop — A one-day workshop for emerging jewelry artists in the U.S. More details: AJDC.
Jewelry Studies International — Offers annual workshops in Austin, Texas, on topics like CAD jewelry design and hand engraving. See Jewelry Studies International.
Walnut Creek Bead & Design Show — A bead and jewelry show with classes in techniques like chainmaille and wire wrapping (Mar 21–23, 2025). Details: Bead & Design Shows
Jewelry Design Lab NYC — Based in New York City, this lab offers short-term and seasonal classes in modern jewelry-making techniques. Find out more at Jewelry Design Lab NYC.

These programs provide a diverse range of learning, travel, and cultural experiences to enhance skills and deepen your appreciation of jewelry design worldwide.

Some more ideas:

1. Gemstone Mining Experience in Sri Lanka

Travel to Sri Lanka to visit traditional sapphire mines, learn about sourcing gemstones, and attend workshops on stone cutting and polishing.

2. Jewelry Design Retreat in Bali

Join a retreat focused on traditional Balinese silversmithing techniques, including hands-on workshops with local artisans.

3. Italian Goldsmithing Tour in Florence, Italy

Explore Florence’s historic goldsmithing district, including visits to renowned ateliers and classes on classic Italian jewelry techniques.

4. Diamond District Tour in Antwerp, Belgium

Gain exclusive insights into the diamond trade with a behind-the-scenes tour of Antwerp’s Diamond District and attend a masterclass on diamond grading.

5. Native American Jewelry Workshop in Santa Fe, New Mexico

Discover Native American jewelry traditions with workshops led by expert artisans in silver and turquoise jewelry.

6. Gemstone Safari in Tanzania

Participate in a guided tour of Tanzanian tanzanite mines, with sessions on gem selection, sourcing ethics, and jewelry design.

7. Paris Jewelry Week

Attend Paris Jewelry Week, featuring exhibitions, workshops, and networking events with prominent European designers and jewelry houses.

8. Jewelry Design Masterclass in Jaipur, India

Study Indian jewelry design, from enameling to intricate gemstone settings, with local artisans in the “Pink City,” Jaipur.

9. Silversmithing Workshop in Taxco, Mexico

Taxco is famous for silver. Join a workshop to learn silver jewelry crafting techniques from skilled Mexican artisans.

10. Luxury Jewelry Show Tour in Dubai

Tour Dubai’s high-end jewelry markets, attend the International Jewellery Show, and visit the Gold Souk for an insider look at the luxury jewelry industry.

11. Art Deco Jewelry Tour in New York City

A guided tour through New York’s Art Deco landmarks and workshops focusing on jewelry inspired by this iconic style.

12. Lapidary Arts Course in Idar-Oberstein, Germany

Idar-Oberstein is known for its gem-cutting industry. Attend a course on lapidary arts and gem faceting techniques.

13. Pearl Cultivation Workshop in Okinawa, Japan

Learn about pearl farming in Okinawa with tours of pearl farms, plus hands-on sessions in pearl grading and jewelry design.

14. Scandinavian Design Tour in Copenhagen, Denmark

A guided tour focusing on Scandinavian jewelry design, featuring visits to design museums, workshops, and jewelry houses.

15. Thai Gold and Gemstone Tour in Bangkok, Thailand

Explore Bangkok’s gem and gold markets, attend workshops on Thai goldsmithing, and learn about local jewelry design traditions.

16. Russian Enameling and Filigree Workshop in St. Petersburg

Learn traditional Russian techniques of enameling and filigree in a workshop setting in historic St. Petersburg.

17. Artisanal Gold Mining Tour in Colombia

Visit artisanal gold mines in Colombia and attend workshops focused on sustainable and ethical jewelry sourcing.

18. Swiss Watchmaking and Jewelry Workshop in Geneva, Switzerland

Discover Swiss craftsmanship with a combination of jewelry-making and watchmaking workshops and factory tours.

19. African Beadwork and Jewelry Design Tour in Ghana

Join a cultural tour and workshop on traditional African beadwork and jewelry-making in Ghana’s artisan villages.

20. Modern Jewelry Design Course in Barcelona, Spain

Attend a design-intensive course focusing on modern techniques, including 3D jewelry design, hosted in Barcelona.

These trips offer unique learning experiences, hands-on practice, and exposure to global jewelry design techniques and cultures.

And don’t forget to use this 25% discount code

throughout November at Land of Odds!!
Use November’s Discount Code
For Extra 25% Off @Land of Odds:
NOVEMBER25
www.landofodds.com

That’s it for now! There is a lot of creative expression all around the world right now. Hope you get to experience a lot of it, either first hand, or through social media online.

WSF

SOME POSTS YOU MAY HAVE MISSED:

(1) HOLD THEIR ATTENTION WITH TEXT HOOKS
One way of keeping and holding someone’s attention is to use what is called a text hook or verbal hook at the beginning — literally within the first 2 seconds.

(2) How do you make the leap from another career to becoming a full-time jewelry designer?

(3) How To Bead A Rogue Elephant: DOUBT AND SELF-DOUBT
For the novice, all that excitement at the beginning, when thinking about making jewelry and making some pieces, sometimes collides with a wall of developing self-doubt. It’s not easy to quiet a doubt. Doubt may hold you back, but it can also be seen as an opportunity.

(4) How To Bead A Rogue Elephant: TRANSITIONS
A piece of jewelry is a series of sections, each integral to the piece, which must flow together visually and functionally. For example, transitioning from the strap to the centerpiece. How the jewelry designer manages the transitions between each section will determine to a great degree the success of the piece.

(5) SIGNATURE READY? … You Judge!

(6) COLUMBIA ARTS DISTRICT: CASE STUDIES
There are many approaches various towns and cities have taken when finding that mix of art and planning necessary for revitalization, and community and economic development.

(7) COLUMBIA TENNESSEE ARTS DISTRICT VISIONING PLAN
Establishing an arts identity can take many directions. A vibrant arts scene no longer means a street lined with art galleries. It can include a broader segment of the creative community — theatre, music, writing, crafts, fashion, media arts, applied arts and graphic design, interior design. The specific arts identity for any community is shaped by those arts for which a community has a special affinity for, as well as the types of assets available to support those arts.

Feature your jewelry Here next week In This Newsletter, as well as, on our Jewelry Designer’s Hub!

Email a post (text and/or image) to warren@warrenfeldjewelry.com.

Promote your current projects, promotional copy, News & Views, videos, reels, tutorials, instructions, social media posts online in this newsletter and on our jewelry designers’ Patreon hub.

No deadlines! Opportunity available all the time. No fees.

But don’t wait to take advantage of this opportunity.

FREEBIRD FEATHERS by B. Batson-Paculabo

https://www.freebirdfeathers.com

View the featured story in our App

“Our story is rooted in the personal testimony of our founder, B. Batson-Paculabo, which tells of how she overcame a low season of adversity with a God encounter and answered prayers that led to liberation and unlocking gifts from within.”

Repairs Stumping You?
Let Me Take A Look

I take in a lot of jewelry repairs. People either bring them to me in Columbia, TN, or, I pick them up and deliver them back in Nashville. I am in Nashville at least once a week. It’s been convenient for most people to meet me at Green Hills Mall. But if not, I can come to your workplace or your home. This is perfectly fine for me. My turnaround time typically is 3–4 weeks.

I do most repairs, but I do not do any soldering. I also do not repair watches. These are the kinds of repairs I do:

o Beaded jewelry
o Pearl knotting, hand knotting
o Size/Length adjustment
o Re-stringing
o Wire work/weave/wrap
o Micro macrame
o Broken clasp replacfement
o Earring repair
o Replace lost rhinestones or gemstones
o Stone setting
o Stretchy bracelet
o Metal working which does not involve soldering
o Bead woven jewelry and purses
o Beaded clothing
o Custom jewelry design

View my How-To-Repair-Jewelry videos on our Jewelry Designers’ Hub.
My most recent how-to: Converting 3-Strand Stretchy Bracelet to Cable Wire W/ Clasp

WARREN FELD JEWELRY (www.warrenfeldjewelry.com)
Custom Design, Workshops, Video Tutorials, Webinars, Coaching, Kits, Group Activities, Repairs
~
Join our community of jewelry designers
on my Patreon hub
Be part of a community of jewelry designers who recognize that we have a different way of thinking and doing than other types of crafters or artists.
One free downloadable Mini-Lesson of your choice for all new members!
~

Follow me on social media: facebook, instagram

shop.warrenfeldjewelry.com
Where you can buy:
Seed Beads and Delicas, Kits, Books, Finished Jewelry

school.warrenfeldjewelry.com
Take advantage of our video tutorials, mini-lessons, projects and our coaching services:

Read articles about jewelry design and about the business of craft:
Articles on Medium.com

Books (in kindle, ebook or print formats) by Warren Feld, purchase from Amazon.com or BarnesAndNoble.com:

Kits by Warren Feld

Ask about my COACHING services

Arrange a GROUP ACTIVITY

Add your email address to my Warren Feld Jewelry emailing list here.

Thanks for being here. I look forward to sharing more resources, tips,
sources of inspiration and insights with you.

Join A Community Of Jewelry Designers
On My Patreon Hub

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THE JEWELERS’ PALETTE, 11/1/2024

Posted by learntobead on October 29, 2024

Join my community of jewelry designers on my Patreon hub
From Warren and
Land of Odds

Use November’s Discount Code For Extra 25% Off @Land of Odds:
NOVEMBER25
www.landofodds.com

November 1, 2024

Hi everyone,

Some Updates and Things Happening.
(Please share this newsletter)

1. I wanted to share some great resources for packaging and display supplies:

FETPAK
www.fetpak.com

AZAR DISPLAYS
https://azardisplays.com/

ULINES
https://www.uline.com/

VISIPAK
https://www.visipak.com/

CLEAR BAGS
https://www.clearbags.com/

QUILL
https://www.quill.com/

2. A couple of quick links for you that you might want to bookmark

a. RIO GRANDE’s new KNOWLEDGE HUB

Access an ever-expanding library of articles, videos, podcast episodes, charts, and graphs available 24/7. Whether you’re interested in the latest trends in jewelry design and techniques or problem-solving at the bench, we have a wealth of information ready to help you learn, grow, and thrive.

Tons of info about jewelry and every kind of technique of jewelry making.

b. The 2024 Summer Design Challenge Winning Design

Matthew Piorkowski’s winning piece, “Interstellar”, features a stunning fantasy-cut octagon ametrine showcased in a custom yellow-gold pendant setting. Centered on the bail is a brilliant square-shaped diamond with sixteen accenting diamonds along the left side of the pendant mounting, creating visual interest along the path of the diamonds.

Rio Grande runs a seasonal challenge called For the Love of Jewelers Design Challenge. They haven’t announced winter or spring submissions rules yet. Check on their website: www.riogrande.com

c. 7 Steps to Create Photorealistic Images With Stable Diffusion w. Chat AI’s Image Generator

In the ever-evolving world of artificial intelligence, the ability to create photorealistic images has become a groundbreaking achievement. ChatAI‘s Image Generator, powered by advanced Stable Diffusion models, offers users the tools to create images that blur the line between reality and AI-generated art. This article will guide you through the 7 steps to create photorealistic images with Stable Diffusion, focusing on the art of prompting. We’ll start by explaining what photorealistic images are, delve into the concept of Stable Diffusion, and then provide a step-by-step guide to crafting effective prompts. At the end, we will share 15 example prompts to inspire your creativity.

Read the article here.

3. I encourage you to take advantage of the very low prices of delica beads on the Land of Odds website.

Compare Our Prices To What You Are Paying:

In this monthly newsletter, occasionally, like in this newsletter, you will find a discount coupon code that you can use on the Land of Odds website.

You can also become a paid subscribing member on our Jewelry Designers’ Patreon Hub, which entitles you to a 25% discount as long as you maintain your subscription.

4. 🎭 As a jewelry designer, it is important to identify your direction, voice, & identity.

Direction is understanding what work you want to make, and why you are making it (your emotional response to your work).

Voice is your unique take on your work’s descriptions and your unique way of portraying messages within your work.

Identity is about what you have experienced: what makes you you, including aspects like your family or where you grew up.

5. I’m always faulting craft show vendors for not having good enough signage for their booths. Recently, I came across this sign, and liked it.

6. What does jewelry sound like, I, for no particular reason, asked myself the other day, so I went to take a look.

To my surprise, there are thousands of jewelry sound effects. There are sounds the jewelry makes when someone wears it. There are sounds the jewelry makes when someone makes it.

22 Royalty Free Jewelry Sound Effects
https://pixabay.com/sound-effects/search/jewelry/
Click sample jewelry sound effect
Click sample jewelry ring spin sound effect
Click sample jewelry chain bounce sound effect

Soundsnap.com

Zapsplat.com

Videvo.net

YouTube and Tik Tok have lots of jewelry sound effects
necklace jingling sound effect

7. Sometimes, as jewelry designers, we feel we don’t have the luxury of great access to resources — support, money, materials. There are opportunities available to you. Read the first of what will be a series of articles about this here.

NOTE: The word “artist” is often used in these opportunities, but in most cases, you should take this to be broadly defined, to include jewelry makers and fine craftspersons,

Building Creative Futures: Residencies, Grants, and Opportunities for Artists

“Often burdened with a bad reputation, an artist’s career is not the easiest path.

It’s true, that unstable income is not particularly reassuring in a world increasingly governed by financial power. After graduation, many young artists leave behind the schools where they had access to resources, mentorship, and time to create, often needing to fully realize how valuable that support was. This transition into the professional world can be daunting as they face the challenge of establishing themselves in a competitive industry.

With this in mind, we have created a series specifically dedicated to programs, grants, residencies and incubators, all aimed at supporting artists in research. This includes selected open calls, formative meetings, articles, and interviews published on Klimt02 to help artists better understand these opportunities and confidently use them as valuable resources to expand and communicate their creative practice.

This series will be continually updated to reflect the latest opportunities, ensuring you, the readers, have access to the most current information and resources published on Klimt02.”

Continue reading here.

8. Are you wondering if working with me as a coach would be a good fit?

Not sure if you’re ready or if you’re at the right place in your jewelry design journey? But you’re thinking that you want to do something powerful to bring more meaning to your art and start to actually make the pieces your soul is craving (maybe silently, maybe4 LOUDLY) to express?

Jewelry Design is not a simple, easy path. It is full of incredible challenges, and those are different for every designer. You will be confronted with struggle, obstacles will be placed at your feet, you’ll be bowled over by tedium, and frustrated by setbacks, befuddled when introducing your work publicly. Most things you will learn come from the art world or craft world, and don’t fit perfectly with what it means to design jewelry. The thing to remember is that those challenges are yours. They belong to you because you stepped into that world we call design. You have that desire to find and explore what all that means.

So often that first step in working deciding to work with a coach is the most difficult. But it is all about having the right guide through all the barriers and dilemmas and vagaries when designing jewelry.

I’m here to talk if you’re feeling stuck and curious about what it would be like to have the support of my mentorship program with you on the journey. Go ahead and schedule a free consultation to talk about your jewelry and problem solve some ways to jump start your creativity. This is a completely no-pressure opportunity to talk about your work and see if we can bring fresh energy, more meaning, and bitter impact to your art.

I’m here to offer guidance and if you think it’s a good fit to work together moving forward, that is great.

But really, this is a free opportunity, no pressure, absolutely no obligation. Let’s talk about where you’re at.

The easiest way to begin the process is to sign up here: COACHING WITH WARREN FELD
You can review what coaching entails. You can submit a form on this web page. When I receive it, I’ll schedule our free initial consultation. Beginning the process does not obligate you to anything.

Warren

And don’t forget to use this 25% discount code

throughout October at Land of Odds!!
Use November’s Discount Code
For Extra 25% Off @Land of Odds:
NOVEMBER25
www.landofodds.com

That’s it for now! There is a lot of creative expression all around the world right now. Hope you get to experience a lot of it, either first hand, or through social media online.

WSF

Feature your jewelry

Here next week

In This Newsletter,
as well as,
on our Jewelry Designer’s Hub!

Email a post (text and/or image) to warren@warrenfeldjewelry.com.

Promote your current projects, promotional copy, News & Views, videos, reels, tutorials, instructions, social media posts online in this newsletter and on our jewelry designers’ Patreon hub.

No deadlines! Opportunity available all the time. No fees.

But don’t wait to take advantage of this opportunity.

Repairs Stumping You?
Let Me Take A Look

I do most repairs, but I do not do any soldering. I also do not repair watches. These are the kinds of repairs I do:

View my How-To-Repair-Jewelry videos on our Jewelry Designers’ Hub.
My most recent how-to: Converting 3-Strand Stretchy Bracelet to Cable Wire W/ Clasp

WARREN FELD JEWELRY (www.warrenfeldjewelry.com)
Custom Design, Workshops, Video Tutorials, Webinars, Coaching, Kits, Group Activities, Repairs
~
Join our community of jewelry designers
on my Patreon hub
Be part of a community of jewelry designers who recognize that we have a different way of thinking and doing than other types of crafters or artists.
One free downloadable Mini-Lesson of your choice for all new members!
~

Follow me on social media: facebook, instagram

shop.warrenfeldjewelry.com
Where you can buy:
Seed Beads and Delicas, Kits, Books, Finished Jewelry

school.warrenfeldjewelry.com
Take advantage of our video tutorials, mini-lessons, projects and our coaching services:

Read articles about jewelry design and about the business of craft:
Articles on Medium.com

Books (in kindle, ebook or print formats) by Warren Feld, purchase from Amazon.com or BarnesAndNoble.com:

Kits by Warren Feld

Ask about my COACHING services

Arrange a GROUP ACTIVITY

Add your email address to my Warren Feld Jewelry emailing list here.

Thanks for being here. I look forward to sharing more resources, tips,
sources of inspiration and insights with you.

Join A Community Of Jewelry Designers
On My Patreon Hub

THE JEWELERS’ PALETTE, 11/1/2024

Join my community of jewelry designers on my Patreon hub
From Warren and
Land of Odds

Use November’s Discount Code For Extra 25% Off @Land of Odds:
NOVEMBER25
www.landofodds.com

November 1, 2024

Hi everyone,

Some Updates and Things Happening.
(Please share this newsletter)

1. I wanted to share some great resources for packaging and display supplies:

FETPAK
www.fetpak.com

AZAR DISPLAYS
https://azardisplays.com/

ULINES
https://www.uline.com/

VISIPAK
https://www.visipak.com/

CLEAR BAGS
https://www.clearbags.com/

QUILL
https://www.quill.com/

2. A couple of quick links for you that you might want to bookmark

a. RIO GRANDE’s new KNOWLEDGE HUB

Tons of info about jewelry and every kind of technique of jewelry making.

b. The 2024 Summer Design Challenge Winning Design

Rio Grande runs a seasonal challenge called For the Love of Jewelers Design Challenge. They haven’t announced winter or spring submissions rules yet. Check on their website: www.riogrande.com

c. 7 Steps to Create Photorealistic Images With Stable Diffusion w. Chat AI’s Image Generator

Read the article here.

3. I encourage you to take advantage of the very low prices of delica beads on the Land of Odds website.

Compare Our Prices To What You Are Paying:

In this monthly newsletter, occasionally, like in this newsletter, you will find a discount coupon code that you can use on the Land of Odds website.

You can also become a paid subscribing member on our Jewelry Designers’ Patreon Hub, which entitles you to a 25% discount as long as you maintain your subscription.

4. 🎭 As a jewelry designer, it is important to identify your direction, voice, & identity.

Direction is understanding what work you want to make, and why you are making it (your emotional response to your work).

Voice is your unique take on your work’s descriptions and your unique way of portraying messages within your work.

Identity is about what you have experienced: what makes you you, including aspects like your family or where you grew up.

5. I’m always faulting craft show vendors for not having good enough signage for their booths. Recently, I came across this sign, and liked it.

6. What does jewelry sound like, I, for no particular reason, asked myself the other day, so I went to take a look.

To my surprise, there are thousands of jewelry sound effects. There are sounds the jewelry makes when someone wears it. There are sounds the jewelry makes when someone makes it.

Soundsnap.com

Zapsplat.com

Videvo.net

YouTube and Tik Tok have lots of jewelry sound effects
necklace jingling sound effect

7. Sometimes, as jewelry designers, we feel we don’t have the luxury of great access to resources — support, money, materials. There are opportunities available to you. Read the first of what will be a series of articles about this here.

NOTE: The word “artist” is often used in these opportunities, but in most cases, you should take this to be broadly defined, to include jewelry makers and fine craftspersons,

Building Creative Futures: Residencies, Grants, and Opportunities for Artists

“Often burdened with a bad reputation, an artist’s career is not the easiest path.

This series will be continually updated to reflect the latest opportunities, ensuring you, the readers, have access to the most current information and resources published on Klimt02.”

Continue reading here.

8. Are you wondering if working with me as a coach would be a good fit?

I’m here to offer guidance and if you think it’s a good fit to work together moving forward, that is great.

But really, this is a free opportunity, no pressure, absolutely no obligation. Let’s talk about where you’re at.

Warren

And don’t forget to use this 25% discount code

throughout October at Land of Odds!!
Use November’s Discount Code
For Extra 25% Off @Land of Odds:
NOVEMBER25
www.landofodds.com

That’s it for now! There is a lot of creative expression all around the world right now. Hope you get to experience a lot of it, either first hand, or through social media online.

WSF

Feature your jewelry

Here next week

In This Newsletter,
as well as,
on our Jewelry Designer’s Hub!

Email a post (text and/or image) to warren@warrenfeldjewelry.com.

Promote your current projects, promotional copy, News & Views, videos, reels, tutorials, instructions, social media posts online in this newsletter and on our jewelry designers’ Patreon hub.

No deadlines! Opportunity available all the time. No fees.

But don’t wait to take advantage of this opportunity.

Repairs Stumping You?
Let Me Take A Look

I do most repairs, but I do not do any soldering. I also do not repair watches. These are the kinds of repairs I do:

View my How-To-Repair-Jewelry videos on our Jewelry Designers’ Hub.
My most recent how-to: Converting 3-Strand Stretchy Bracelet to Cable Wire W/ Clasp

WARREN FELD JEWELRY (www.warrenfeldjewelry.com)
Custom Design, Workshops, Video Tutorials, Webinars, Coaching, Kits, Group Activities, Repairs
~
Join our community of jewelry designers
on my Patreon hub
Be part of a community of jewelry designers who recognize that we have a different way of thinking and doing than other types of crafters or artists.
One free downloadable Mini-Lesson of your choice for all new members!
~

Follow me on social media: facebook, instagram

shop.warrenfeldjewelry.com
Where you can buy:
Seed Beads and Delicas, Kits, Books, Finished Jewelry

school.warrenfeldjewelry.com
Take advantage of our video tutorials, mini-lessons, projects and our coaching services:

Read articles about jewelry design and about the business of craft:
Articles on Medium.com

Books (in kindle, ebook or print formats) by Warren Feld, purchase from Amazon.com or BarnesAndNoble.com:

Kits by Warren Feld

Ask about my COACHING services

Arrange a GROUP ACTIVITY

Add your email address to my Warren Feld Jewelry emailing list here.

Thanks for being here. I look forward to sharing more resources, tips,
sources of inspiration and insights with you.

Join A Community Of Jewelry Designers
On My Patreon Hub

Posted in architecture, Art or Craft?, art theory, bead stringing, bead weaving, beads, beadwork, business of craft, color, Contests, craft, craft shows, creativity, cruises, design management, design theory, design thinking, enrichment travel, Entrepreneurship, handmade jewelry, jewelry, jewelry collecting, jewelry design, jewelry making, Learn To Bead, pearl knotting, professional development, Resources, Stitch 'n Bitch, Travel Opportunities, wire and metal, Workshops, Classes, Exhibits | Tagged: accessories, art, craftsmanship, fashion, jewelry | Leave a Comment »

HOLD THEIR ATTENTION WITH TEXT HOOKS

Posted by learntobead on October 21, 2024

One way of keeping and holding someone’s attention is to use what is called a text hook or verbal hook at the beginning — literally within the first 2 seconds.

So, you have created a reel or a video or a slide show, and you want your viewers to take the time to view the entire piece from beginning to end. In our day and age, people spend about 2 seconds on something, then move onto the next. One way of keeping and holding their attention is to use what is called a text hook or verbal hook at the beginning — literally within the first 2 seconds. These hooks are designed to pique curiosity, make the viewer feel like they’ll gain something valuable, and create a sense of anticipation for what comes next.

Some examples for you:

“What if I told you this one trick can improve your jewelry design instantly?”
“In just 5 minutes, you’ll see how this technique changes everything.”
“Ever wonder how pros create stunning jewelry? Keep watching.”
“This one jewelry making hack saved me hours of frustration.”
“By the end of this video, you’ll master this powerful jewelry making skill.”
“I bet you’ve never seen this jewelry making technique before!”
“Get ready to unlock a new level of creativity.”
“Stick around for my #1 secret to creating impactful jewelry.”
“Here’s what no one tells you about improving your jewelry designs.”
“If you’re struggling with (jewelry making technique), this is for you.”
“You’ll be surprised at how simple this pro technique really is.”
“I’m going to reveal how I overcame this major jewelry making block.”
“Watch until the end to see the transformation of this piece.”
“This one tool will change the way you approach your jewelry making forever.”
“The difference between good and great jewelry? I’ll show you.”
“Want to create jewelry which stands out? Don’t skip this video.”
“By the end of this video, your perspective on jewelry will shift.”
“I used to struggle with this, but then I discovered this simple fix.”
“Stay with me — this final step ties the entire piece together.”
“If you’ve ever felt stuck as a jewelry artisan, this is what you need.”
“Are you ready to take your jewelry to the next level?”
“Let me show you how this one technique will transform your work.”
“Have you ever wondered how to make your jewelry more dynamic?”
“This is something I wish I knew when I first started out.”
“What if I told you that you can master this technique today?”
“I’m about to show you something that changed the way I create jewelry.”
“Stay with me — this tip could save you hours in the studio.”
“Here’s how I achieved this effect with just a few simple steps.”
“You’re not going to believe how easy this technique is.”
“If you stick around, I’ll reveal the secret to my process.”
Watch until the end to see the final result
Here’s how to …(example/subject) achieve this (result)
This is what 30 hours of beading looks like.
Here are the materials I used to (technique used)
Here’s what I did to (final result)
This technique changed my life as a jewelry designer.
The best and worst things about (technique)

_______________________________________________________

Thanks for being here. I look forward to sharing more resources, tips,
sources of inspiration and insights with you.

I have set up a space for our community of jewelry designers — Warren Feld Jewelry’s PATREON HUB — to learn, to interact, and to provide and/or get feedback on what they are working on. Please join here.

Be part of a community of jewelry designers who recognize that we have a different way of thinking and doing than other types of crafters or artists. Access more articles and other resources not included in my medium.com site.

WarrenFeldJewelry.com
Shop.warrenfeldjewelry.com
School.warrenfeldjewelry.com
Coaching by Warren Feld

Add your name to my email list.

CONQUERING THE CREATIVE MARKETPLACE:
Between the Fickleness of Business and the Pursuit of Design

This guidebook is a must-have for anyone serious about making money selling jewelry. I focus on straightforward, workable strategies for integrating business practices with the creative design process. These strategies make balancing your creative self with your productive self easier and more fluid.

Based both on the creation and development of my own jewelry design business, as well as teaching countless students over the past 35+ years about business and craft, I address what should be some of your key concerns and uncertainties. I help you plan your road map.

Whether you are a hobbyist or a self-supporting business, success as a jewelry designer involves many things to think about, know and do. I share with you the kinds of things it takes to start your own jewelry business, run it, anticipate risks and rewards, and lead it to a level of success you feel is right for you, including

· Getting Started: Naming business, identifying resources, protecting intellectual property

· Financial Management: basic accounting, break even analysis, understanding risk-reward-return on investment, inventory management

· Product Development: identifying target market, specifying product attributes, developing jewelry line, production, distribution, pricing, launching

· Marketing, Promoting, Branding: competitor analysis, developing message, establishing emotional connections to your products, social media marketing

· Selling: linking product to buyer among many venues, such as store, department store, online, trunk show, home show, trade show, sales reps and showrooms, catalogs, TV shopping, galleries, advertising, cold calling, making the pitch

· Resiliency: building business, professional and psychological resiliency

· Professional Responsibilities: preparing artist statement, portfolio, look book, resume, biographical sketch, profile, FAQ, self-care

548pp., Kindle, Print, Epub

Posted in Art or Craft?, bead stringing, bead weaving, beads, beadwork, business of craft, craft, craft shows, Entrepreneurship, handmade jewelry, jewelry making, professional development | Tagged: craftsmanship, fashion, instagram, interview, jewelry, luxury, reels, slideshows, social media marketing, text hook, verbal hook, videos | Leave a Comment »

How To Make A Space Into A Place: Art and Planning in the Columbia Tennessee Arts District

Posted by learntobead on October 17, 2024

Columbia ARTS DISTRICT

Read the full plan here.

My Interest In Creating A Visioning Plan
For The ARTSWORKS ART DISTRICT

I am a relatively recent resident of Columbia, TN. I have an extensive background in city planning, city revitalization, art and design. The COLUMBIA ARTS DISTRICT area, about 1 square mile in size, and abutting the downtown, has excited me in so many ways, not least of which, because the idea to use the arts as a planning tool for community and economic development offers so many great possibilities.

My excitement comes from things like,

(1) Taking a proactive approach to planning for the arts, maximizing realistic and effective physical and social development, and minimizing unintended consequences, when making a space into a place.

(2) Promoting cooperative relationships among artists, planners, developers, educators, nonprofits, funding sources and the general public, leading to a greater sense of place, voicing a narrative for it, and celebrating it.

(3) Offering many possibilities for nontraditional engagement program and physical development and the community

(4) Focusing on the ‘arts’ (broadly defined) as a driver of community and economic development, perhaps generating new practices and ideas in urban planning, the arts and design, and thus elevating ideas about creative place-making

(5) Relying on a local framework to steer community and economic development, hopefully resulting in a more unique expression of the Columbia community

(6) Recognizing that the city has a strong commitment for developing the Arts District

(7) Having an early opportunity to create a strong vision for development, preventing some undesirable development outcomes.

The Arts As Defined By Columbia

Initially, Columbia Arts Council focused on 5:

· Visual Arts (painting, sculpture, applied arts, graphic arts)

· Theater

· Craft

· Music

· Writing

I suggested breaking out applied arts and graphic arts as their own discipline apart from visual arts.

I suggested adding:

· Fashion

· Interior Design

People pursue artistic and creative expression through a variety of outlets: formal theatrical performances, sculptures, paintings, and buildings; as well as the less formal arts, music and food festivals, celebrations and informal cultural gatherings, pickup bands, and crafts groups. Together, these formal and informal, tangible and intangible, professional and amateur artistic and cultural activities constitute a community’s cultural assets. These activities — which encompass a diverse set of locations, spaces, levels of professionalism and participation, products, events, consumers, creators, and critics — are essential to a community’s well-being, economic and cultural vitality, sense of identity, and heritage. (American Planning Association, 2011)

People participate in arts and culture at varying levels of skill and engagement. Participants include creators (from the professional actor to a child actor in a school play), consumers (from the audience member for an opera performance to the parent of the child in the school play), and supporters and critics (whether foundations, parents and school fund-raisers, or journalists).

Some create, while others listen to, watch, teach, critique, or learn a cultural activity, art form, or expression. Some are professional artists, designers, and inventors, while others engage informally in expressive activities or create innovative tools, relationships, or products.

The field as a whole can be represented within a framework that has four main aspects:

1. Degree of professionalism, (professional/formal à vocational/informal)

2. Type of product or activity, (tangible à intangible)

3. Locations and spaces, (specific purpose venue à non-arts venue)

4. Level of participation and involvement (creator à consumer)
(American Planning Association, 2011)

What makes a great place? What keeps it great over a very long, sustained time?

These are questions we need to be asking ourselves as we translate visions of what can be into actual programs of community and economic development. This vision plan for the ARTSWORKS ARTS DISTRICT provides a lot of food for thought, some tools for clarifying options, and some suggestions for how to approach Placemaking over the next several years. It is an effort to help us collectively reinvent and reimagine what could be. Something more than attractive urban designs. Something distinctive from other cities and towns. Something with community and meaning and quality well-being, shaping how people come together, interact, share experiences and feel a special connection to this place we call the ARTSWORKS ARTS DISTRICT and this place we call Columbia.

The object is to create a place, not a design.

About Placemaking
(based on information from ArtPlace America
https://www.artplaceamerica.org/ )

Placemaking inspires people to collectively reimagine and reinvent public spaces as the heart of every community. Strengthening the connection between people and the places they share, placemaking refers to a collaborative process by which we can shape our public realm in order to maximize shared value. More than just promoting better urban design, placemaking facilitates creative patterns of use, paying particular attention to the physical, cultural, and social identities that define a place and support its ongoing evolution.

What makes some places succeed while others fail?

To be successful, places generally share the following four qualities:

1. They are accessible

2. People are engaged in activities there

3. The space is comfortable and has a good image

4. It is a sociable place: one where people meet each other and take people when they come to visit.

Access & Linkages

You can judge the accessibility of a place by its connections to its surroundings, both visual and physical. A successful public space is easy to get to and get through; it is visible both from a distance and up close. The edges of a space are important as well: For instance, a row of shops along a street is more interesting and generally safer to walk by than a blank wall or empty lot. Accessible spaces have a high parking turnover and, ideally, are convenient to public transit.

Activities

Activities can take many forms — one-off programs, ongoing programs, small number of participants to a large number of participants. The placemaking goal of each activity is that participants have a meaningful experience, and one they want to share with others.

Comfort & Image

Whether a space is comfortable and presents itself well — has a good image — is key to its success. Comfort includes perceptions about safety, cleanliness, and the availability of places to sit — the importance of giving people the choice to sit where they want is generally underestimated, and the availability of shade.

When it comes to accessibility, it isn’t simply enough to be able to get to a place. To fully enjoy a space, people must be able to navigate it and spend time there with dignity and confidence. Unfortunately, many spaces deliver a message of exclusion to their visitors.

Sociability

This is a difficult quality for a place to achieve, but once attained it becomes an unmistakable feature. When people see friends, meet and greet their neighbors, and feel comfortable interacting with strangers, they tend to feel a stronger sense of place or attachment to their community — and to the place that fosters these types of social activities.

Power of 10+

The idea behind this concept is that places thrive when users have a range of reasons (10+) to be there. These might include a place to sit, playgrounds to enjoy, art to touch, music to hear, food to eat, history to experience, and people to meet. Ideally, some of these activities will be unique to that particular place, reflecting the culture and history of the surrounding community. Local residents who use this space most regularly will be the best source of ideas for which uses will work best.

Some questions/concerns to consider when placemaking

Does the space function for people with special needs?
Providing shade, ways to cool off, or spots to take cover during a storm not only ensure that public spaces are usable in all weather, but also that they become trusted refuges in an era of climate crisis.
Accessible bathrooms
Regular maintenance of public spaces
The more activities that are going on at one time, and that people have an opportunity to participate in, the better
Good balance between men and women
People of different ages are using the space
The space is used throughout the day
A space that is used by both singles and people in groups is better than one that is just used by people alone because it means that there are places for people to sit with friends, there is more socializing, and it is more fun.
The ultimate determinant of a place’s success is how well it is managed.
Are people using the space or is it empty?
Are people in groups?
How many different types of activities are occurring — people walking, eating, playing baseball, chess, relaxing, reading?
Which parts of the space are used and which are not?
Are there choices of things to do?
Is there a management presence, or can you identify anyone who is in charge of the space?
Is this a place where you would choose to meet your friends? Are others meeting friends here or running into them?
Are people in groups? Are they talking with one another?
Do people seem to know each other by face or by name?
Do people bring their friends and relatives to see the place or do they point to one of its features with pride?
Are people smiling? Do people make eye contact with each other?
Do people use the place regularly and by choice?
Does a mix of ages and ethnic groups that generally reflect the community at large?
Do people tend to pick up litter when they see it?

Establishing An Arts Identity

Establishing an arts identity can take many directions. A vibrant arts scene no longer means a street lined with art galleries. It can include a broader segment of the creative community — theatre, music, writing, crafts, fashion, media arts, applied arts and graphic design, interior design. The specific arts identity for any community is shaped by those arts for which a community has a special affinity for, as well as the types of assets available to support those arts.

Depending upon the values and decision making criteria put into action today, the area can evolve, over time, towards one of 4 ways:

(1) Museum: people come to look, but often do not linger or return to look again; the art is static

(2) Amusement Park: people come to play (think lower Broadway in Nashville); the art is ignored

(3) Gentrified and Residential: people come to live and the area becomes somewhat insular, with the importance of the arts often diminished to the role of ornamentation

(4) Community organized around the idea of “art”: people come from near and far to interact with the arts as a way of enhancing a meaningful and memorable sense of self and community

I prefer option #4, and that is my bias throughout this visioning plan.

Development takes time and patience. It takes vision and values. Development with little to no or poor planning is a waste of time, and typically fails in its quest to realize any set of vision and values. Decisions made today will impact what the area looks like 25–50 years from now.

Columbia’s Art Culture

Columbia’s arts, culture, and music scene add flavor to the region, cultivated with the support of:

· Non-profit arts organizations, including multiple community theater groups

· ARTS DISTRICT

· Columbia Arts Council

· Columbia citizens

Columbia nightlife highlights the growing music culture as more artists showcase their talents at local restaurants and local venues.

Columbia Arts Council

COLUMBIA ARTS COUNCIL Authority: Promotes Arts in the Community Appointed by the Mayor Confirmed by Council Terms: Three Years Composition: Nine Members Involved in the Arts

Advised by Tourism & Marketing Director Role in Planning Process:

Final Decision on Appeals of Zoning Administrator’s Determination of Arts-Related Uses in the Arts District Overlay

City Specified Guiding Essential Values

Columbia has set a development goal to make an area adjacent to the downtown, in this plan referred to as the ARTSWORKS ARTS DISTRICT, into a place where the community organizes around the arts (broadly defined). These are the guiding essential values toward that end.

· The Arts

· Viability

· Connection and Flow

· Vitality

· Interactivity

· Diversification and Flexibility

· Steadfast

· Neighborly

· Leverage

· Sustainability

· The Arts: Emphasize the arts as the ARTSWORKS ART DISTRICT’s main theme. The arts are to be broadly defined as inclusive of visual artists, theater, crafts, writers, and musicians. The Arts are to be represented in a variety of ways, from business development, to exhibitions, to demonstrations, to public art, to the structuring of meaningful public experiences, to education, to physical infrastructure planning, to one-off as well as ongoing programs and events.

· Viability: Build, attract and retain creative talent. Encourage additional development of arts-related uses that complement the district’s theme. This will enhance the life and energy of the city, contribute to the long-term viability and success of businesses in the ARTSWORKS ARTS DISTRICT, and help the city attract new types of businesses which will diversify its commercial base.

· Connection and Flow: Columbia provides options for safe, efficient and accessible movement throughout the ARTSWORKS ARTS DISTRICT, including pedestrian walkways, proposed INTERACTIVE ARTS TRAILS (one by auto, the other by foot), attention to areas of potential conflict between cars, bicycles and pedestrians. The ARTSWORKS ARTS DISTRICT should be easily navigable by all.

· Vitality: Columbia ARTSWORKS ARTS DISTRICT is a safe community with opportunities for the personal and community expression through the arts (broadly defined), and the setting and maintaining of high standards for the quality of the built environment, the commercial and residential environment. Retain many of The District’s architectural features and landscape. Enable affordable residential and commercial spaces for artists and art-related businesses. Ensure many comforts throughout, such as seating and shading. Designed for lingering.

· Interactivity: Engage visitors in ways traditional artwork does not. Encourage community participation and meaningful interaction and immersion in some form with the art they are seeing, hearing, touching, smelling, experiencing. The ARTSWORKS ARTS DISTRICT should be seen by the public as a sociable place, where they want to come to meet others, are comfortable with strangers, share meaningful experiences, and where they want to bring their friends and family to see and experience.

· Diversification and Flexibility: The ARTSWORKS ARTS DISTRICT will include a mix of residential, restaurant, retail, art, educational, other commercial, hotel/motel/conference/exhibition/B&B /inn infrastructure. The ARTSWORKS ARTS DISTRICT will be a place for programs, exhibits, demonstrations, special events, educational and training related to visual and sculptural art, craft, theatre, music and writing. The ARTSWORKS ARTS DISTRICT will host several flexible-use spaces.

· Steadfast: The ARTSWORKS ARTS DISTRICT is viable as a livable, workable, and commercial area of Columbia, where development is economically sustainable and pertinent to both community and economic development, new development is cohesive and compatible, that the distribution of new development is balanced and flows organically throughout the entire delineated area, and the unique character of this neighborhood develops as vibrant, interactive and community based. Tensions between historical preservation and land use and business development are resolved.

· Neighborly: Columbia ARTSWORKS ARTS DISTRICT is a place where all residents feel welcome and included in community decisions.

· Leverage: Where it makes sense, Columbia should use a leverage approach to encourage developments and programs. Columbia can leverage money, power, position, and authority. Columbia might offer an incentive where every private dollar raised would be matched with one dollar of city funds. Columbia might foster (and mentor) public/private partnerships. Columbia might use its location, population and industrial mix to its advantage. Columbia might develop additional criteria and planning/development standards and codes to the advantage of the ARTSWORKS ARTS DISTRICT and leading development in line with values, goals and objectives. Columbia might rely on volunteers to accomplish many of its development and program goals.

· Sustainability: The ARTSWORKS ARTS DISTRICT over time should become less and less dependent on city funds.

Concerns

It is important to try and anticipate what kinds of things can go right, and what kinds of things can go wrong, as the ARTSWORKS ARTS DISTRICT develops. Will initial investments prove overly optimistic about their return? Will the area generate a lot of excitement at first, but not be able to sustain that excitement over time? Will “art” remain the core organizing principle for the area, or be replaced by unrelated commercial and/or residential development?

It is also important to try and anticipate how Columbia’s ARTSWORKS ARTS DISTRICT will continue to provide stimulus to sense of community and fiscal viability, and how it might not. Will visitors to the district be motivated to stay long enough to spend money there? Will they return and visit again? Will they have a memorable experience that they want to share with others?

It is also important to try and anticipate how Columbia’s ARTSWORKS ARTS DISTRICT can create and retain a competitive advantage over similar or competing areas in neighboring towns, in other towns in Tennessee and in other towns throughout the United States. If every town takes an interior design approach (Museum) with placement of murals and sculptures, how will Columbia differentiate itself?

What things will keep the ARTSWORKS ARTS DISTRICT going over the next 10–50 years as it develops, and what things will prove to be impediments?

Goals and Objectives

COLUMBIA ARTSWORKS ARTS DISTRICT GOALS:
A community organized around creative talent and businesses can improve…

#1: Character

#2: Opportunity

#3: Support

#4: Investment

#5: Administration and Regulation

Read the full plan here.

1. THE ARTSWORKS DEVELOPMENT OPPORTUNITY, p. 2
2. ESSENTIAL GUIDING VALUES, p. 8
3. PLACEMAKING, p. 11
4. WHAT IS INTERACTIVE ART, p. 15
5. CONCERNS, p. 17
6. THE FUNCTIONAL PRIMARY NEEDS AND SECONDARY EFFECTS
OF THE VARIOUS ARTS, p. 21
7. GOALS AND OBJECTIVES, p. 23
8. LAND USE AND PROGRAM APPROACHES AND POSSIBILITIES, p. 29
Primary strategies and tools towns resort to, p. 30
9. EXAMPLES OF TYPES OF PROGRAM ACTIVITIES, p. 39
What Is An Arts Trail, p. 40
9a. Visual Arts, p. 45
9b. Theatre, p. 50
9c. Outdoor Stage Options, p. 55
9d. Crafts, p. 60
9e. Music, p. 65
9f. Writing, p. 69
9g. Applied Arts and Graphic Arts, p. 73
9h. Fashion, p. 77
9i. Interior Design, p. 79
9j. Interdisciplinary Ideas, p. 82
10. DESCRIPTION OF AREA, p. 83
With Suggestions For High Priority Land Uses Development, p. 85
How a CONFERENCE HOTEL differs from a CONVENTION HOTEL, p. 98
11. IMPLEMENTATION PROPOSALS AND RECOMMENDATIONS, p. 100
Creating Partners, p. 117
Organizing Volunteers, p. 118
12. FUNDING POSSIBILITIES, p. 119
In-state Tennessee funds, p. 120
Funding methods used to develop arts districts across America, p. 122
Foundation and grant funds in Tennessee which may be used for the arts, p. 124
Funding and grant programs for the arts and artists, p. 125
13. ORGANIZATIONAL RESPONSIBILITIES, p. 128
14. STANDARDS & CRITERIA, p. 130
15. CASE STUDIES, p.138

Read the full plan here.

_______________________________________________________

I have set up a space for our community of jewelry designers — Warren Feld Jewelry’s PATREON HUB — to learn, to interact, and to provide and/or get feedback on what they are working on. Please join here.

Be part of a community of jewelry designers who recognize that we have a different way of thinking and doing than other types of crafters or artists. Access more articles and other resources not included in my medium.com site.

Visit my website www.warrenfeldjewelry.com

Feel free to add your comments.

Shop with us at Land of Odds.

Posted in architecture, Art or Craft?, beadwork, business of craft, craft, design thinking, Entrepreneurship, handmade jewelry | Tagged: art, art and planning, arts district, community, community develoment, economic development, events, news, planning, Travel | Leave a Comment »

HOW TO BEAD A ROGUE ELEPHANT: The Musings of a Jewelry Designer: EXISTENCE

Posted by learntobead on September 20, 2024

A jewelry designer is not born with an inherent essence of being a designer. Rather, they become a designer, and exist as a designer, through the act of designing. The essence with which each jewelry designer conveys when existing as a jewelry designer is some blend of artistic expression, craftsmanship, emotional resonance, and functional ability, and, in some cases, business acumen.

The question we get asked over and over again, and we ask ourselves over and over again, is: Who Are You? / Who Am I?

The obvious answer is You are who you are. Or, You are what you do. You exist.

But, how do you become?

You weren’t born into jewelry design. Jewelry designing may or may not have been on your horizon as you grew up, began some kind of work, and lived your life. At some point, you became a jewelry designer.

Was there a point in time where you felt in your gut that you not only were making jewelry, but you had become a jewelry designer?

Perhaps not. In this case, you might have felt that anyone might make jewelry at any point in time. You made it, you sold it, you gave it away. If we merely exist to make jewelry, then we are a technician. An automaton. Interchangeable with a machine. Easily replaceable and duplicated. The results of our work are repeatable. Universal. Mass appeal. Same ole, same ole. We haven’t become a jewelry designer. We merely implement designs.

Yet, perhaps there is a point in time where we, not only be and do, but become. After all, in this case, not just anyone can design jewelry. A machine can be given instructions on how to design jewelry. But it cannot be inspired. It cannot, on its own, inspire others. It cannot build in meaning and content and power and edginess. It cannot evoke emotions. It cannot, on its own, find that point of conversation between designer and client where both believe the jewelry is finished and successful. It cannot, on its own, understand desire and its driving forces for both designer and client. Nor, where their desires overlap and where they conflict. All these cannots suggest that one more likely becomes a jewelry designer. At some point.

So, how do you become? How do you become a jewelry designer?

And once you become, how do you know you are one?

And, finally, what does it mean to exist as one?

Existence

The idea of existence can sound so pejorative in some ways. A sense of nothingness, an as “is”. Something mechanical that may or may not be self-perpetuating. A tree holding up the sky for no particular reason, but that it does.

I can prefix the idea of existence with one of essence. This sounds a little sexier. The jewelry designer cannot exist as a jewelry designer without some sense of exuding some essence. It is not a smell or perfume. It is not some particular set of tools or techniques. It is more than an idea or fantasy or wish fulfillment.

The essence with which each jewelry designer conveys when existing as a jewelry designer is some blend of artistic expression, craftsmanship, emotional resonance, and functional ability, and, in some cases, business acumen. It is not beauty or functionality, but beauty and functionality. It is not object or intent, but object and intent. It is not mechanically constructed or symbolically constructed, but mechanically constructed and symbolically constructed. It is not the assumptions, expectations, perceptions, values and desires of the designer or the client, but both of designer and client in a shared dialogue about understandings.

The existence of the jewelry designer is one of telling stories. Stories evoke meanings. Meanings lead to emotional and resonant responses. Emotional and resonant responses often lead to public expression. Public expression might lead to contagion or rejection.

To exist as a jewelry designer means encapsulating all these things. Together. At once. But piecemeal, too. Integrated, but contradictory, too. Coherent, yet incoherent concurrently, too. Existence as a jewelry designer takes on multi-faceted meanings. Existence is shaped by creativity, influenced by materials and techniques, affected by someone’s relationship to beauty, oftentimes jarred by architectural issues of functionality, stresses and strains, softened by the impact their pieces have on the client and the situations the client, wearing their works, finds themselves in.

Jewelry design is a process, and the cycle repeats with each new piece. But the essence is the same. The existence has, indeed requires, the same essential parameters.

You Know It When You Know It

I do some coaching from time to time with students who want to exist as jewelry designers, but not sure if they do, if they do yet, and how to know when it happens. It could result from difficulty with a technique. Or the application of art and design principles of composition, construction and manipulation. Or how to make some success in business.

A lot of the coaching boils down to the same thing: the essence of existence.

CONTINUE READING ON MY JEWELRY DESIGNERS’ HUB HERE…

_______________________________________________________

I have set up a space for our community of jewelry designers — Warren Feld Jewelry’s PATREON HUB — to learn, to interact, and to provide and/or get feedback on what they are working on. Please join here.

Be part of a community of jewelry designers who recognize that we have a different way of thinking and doing than other types of crafters or artists. Access more articles and other resources not included in my medium.com site.

Visit my website www.warrenfeldjewelry.com

Feel free to add your comments.

Shop with us at Land of Odds.

Posted in Art or Craft?, art theory, bead stringing, bead weaving, beads, beadwork, business of craft, creativity, design management, design theory, design thinking, handmade jewelry, jewelry, jewelry design, Learn To Bead, pearl knotting, professional development, wire and metal | Tagged: craftsmanship, creativity, existentialism, fashion, jewelry, luxury, Style | Leave a Comment »

SUBSCRIBE TO MY JEWELRY DESIGNERS’ HUB

Posted by learntobead on September 5, 2024

https://www.patreon.com/warrenfeldjewelry

I have set up a space for our community of jewelry designers — Warren Feld Jewelry’s PATREON HUB — to learn, to interact, and to provide and/or get feedback on what they are working on. Please join here.

Be part of a community of jewelry designers who recognize that we have a different way of thinking and doing than other types of crafters or artists.

WHY SUBSCRIBE?

Engage with a community. Benefit from its collective power — insights, reactions, feedback, foresight, and directing you to opportunities.

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I bring articles, tutorials, and chat-group discussion sessions to you about…

What it means to be fluent and literate in design?
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How jewelry design differs from art or craft?
How you judge a piece as finished and successful?

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Posted in architecture, Art or Craft?, art theory, bead stringing, bead weaving, beads, beadwork, business of craft, color, Contests, craft, craft shows, creativity, design management, design theory, design thinking, enrichment travel, Entrepreneurship, handmade jewelry, jewelry, jewelry collecting, jewelry design, jewelry making, Learn To Bead, pearl knotting, professional development, Resources, Stitch 'n Bitch, wire and metal, Workshops, Classes, Exhibits | Tagged: metal work, metalwork, silversmithing | Leave a Comment »

HOW TO BEAD A ROGUE ELEPHANT: The Musings Of A Jewelry Designer: CRITICALITY

Posted by learntobead on September 5, 2024

How to navigate the tensions between other people’s expectations and your own sense of personal authenticity. This is what Criticality is all about.

KIT AFTER KIT

I designed kit after kit with some highlighted core design or architectural principle, or technique variation in mind, hoping that in the process of making each particular piece of jewelry, the maker would also learn a lot of new insights they hadn’t been exposed to before. I wrote the instructions in sections — inspirations, design considerations, material and technique selection, points of vulnerability, workspace, step-by-step, dealing with contingencies. For each section, I approached it as a ‘think-aloud.’ That is, I wanted to explain the critical why’s and wherefore’s of each and every design choice I made, and in the order I made them, so the kit-maker could gain insight into how I made my each of my choices. And subsequently, be able to critically evaluate my choices with respect to their own sense of authenticity as a jewelry designer.

My efforts were in response to how virtually everyone learned jewelry making. [Which I consider mis-learning.] They learned to follow a set of steps. After the very last step, they completed something. It didn’t matter if that something was appealing. Or durable. Or wearable. Or comfortable. Or context appropriate. It didn’t matter if the steps were written out correctly. It didn’t matter whether you could apply those steps to any other situation, let alone situations which were unfamiliar or otherwise problematic. What mattered was the ”Look, Ma” feeling you got when you finished doing all the steps.

This isn’t learning. This is basic mechanics. I wanted to create a set of instructions and procedures which were insightful. Were tools which could be used to resolve other jewelry making goals and situations. Were a set of coherent ideas which could be built upon and expanded. Which empowered people with fix-it strategies for them to resort to whenever they needed. But most people saw my efforts as forcing them to review lots of text, images and diagrams, when they just wanted quickly to get to the point — something they could show and tell.

The sales were so-so. I adapted somewhat. I added summaries of steps so people could skip the explanations. I condensed things by creating 3-column layouts, where directions, images, diagrams and annotations sat side-by-side. Sales remained so-so. I was unwilling to make any more compromises.

Criticality

People fear getting criticized. So they avoid it. At all costs. Yet, at costs to themselves.

Criticism is not something you want to avoid. It is not meant to be harmful. And though I recognize, at times, you have probably experienced others using criticism to hurt you in some way, this isn’t what it is meant to be for. Criticism is there to bring clarity to what is working and what is not. What other possibilities might offer. What things you are doing that suggest you are on the right track … keep following it.

Criticality is something you want to build into your Practice. It is not something to avoid or minimize. It is one of your most useful tools as you begin to move your piece of jewelry from your workbench into the public sphere of sales, collectors, exhibitors, students, colleagues, you get the point.

Criticality is about making choices. It is about separating and confronting and going beyond your piece in order to build in that relevance jewelry needs as it gets exposed to the public.

Criticality helps you close the distance between the jewelry you create and the person it has been created for.

Criticality aids you in revealing the implications and consequences of all your choices. About materials. About techniques. About colors and patterns and textures and forms. About construction. About architectural and mechanical considerations. Each form of jewelry requires endless and constant adjustments, and you should be very critically aware of what, why and how. Preferably not waiting until you have finished your piece, but rather all along the way of your design process — inspiration to aspiration to implementation.

Criticality is necessary for you to continue to grow and develop as a professional jewelry designer.

Criticality is not a put-down of the jewelry designer. Rather it is a way of reflecting, evaluating and being very metacognitive of all the choices made in design and construction, and a lot of what-if envisioning and analysis of possible alternative choices. It is an exploratory thing. It adds understanding and comprehension.

Criticality assists in creating a dialog between designer and all the various audiences with whom the designer interacts. Towards that end, it is helpful to actively bring others into that criticality discussion, where we now have the prospects of many voices merging into a form. It can be difficult to be objective about your own work. It is equally as hard to anticipate its reception. And you may not be aware of how the quality of your work stacks up with others, and where it needs to be.

For the jewelry designer, criticality enters into the design process in several ways. These include,

(1) Cultural and Social Critique: Jewelry can serve as a means of socio-cultural commentary. Jewelry can challenge norms. It can highlight tensions related to gender, identity and inequality. It can provoke thinking, dialog and response.
(2) Material Exploration: Materials can be selected for different reasons. Their strengths can be leveraged and weaknesses minimized. They can be experimented with. They can be repurposed, such as with found objects. Their associated traditional uses can be challenged. Contradictions about ideas about value can be brought to the fore.
(3) Taking Design Beyond Ornamentation And Embellishment: Jewelry tells stories, holds meanings, reveals content, triggers dialog. As such, it is more than ornamentation and embellishment. Jewelry is expressive. It can be political. It forces reflection.
(4) Interdisciplinary Collaborations: Criticality in jewelry design often involves collaboration with other disciplines, such as fashion, art, or technology. As such, boundaries between disciplines become blurred or redefined. New ideas, materials, techniques and technologies emerge.
(5) Challenges Standards Of Beauty, Fashion, Style, Taste and Art: Jewelry imposes questions on traditions, refocuses discussions about cultures and cultural appropriation, and points out alternative ways to appreciate different body types and forms of beauty.
(6) Shared Understandings: Jewelry is a vehicle for understanding how the desires and values of the designer must interact / coordinate / be cohesive with the desires, values, assumptions, expectations and perceptions of the various audiences which interact with the jewelry once introduced publicly. All their interactions during (and after) the design process is a veritable volleyball game of back and forth criticality.
(7) Appeal and Functionality: Jewelry is something to be worn, else it is merely sculpture. There are critical elements underlying any piece which relate in successful (or not) tradeoffs between appeal and functionality, art and architecture, object and intent.

By adopting a persistent, ever-present critical approach, jewelry designers can push the boundaries of design, explore new concepts, and create innovative pieces that go beyond mere adornment.

The Social Movement Gallery

When I was director of the Tennessee Primary Care Association, I had the opportunity, when moving our offices to a new location, to design a series of multi-use spaces. I put in a conference room which could double as a focus-group room for marketing studies. I put in a row of small spaces which could double as office spaces for temporary interns and display or storage spaces. And I organized the center of our space into a large, open space, with our staff offices bordering it on all four sides, and opening up into this space. This space was designed as an art gallery, with special lighting, furnishings, wall treatments. The space itself doubled for meetings, press conferences, gallery visitors, small work desks throughout.

Why an art gallery in the Primary Care Association offices?

The goals were part marketing, part meeting state and federal expectations of our health clinic members, and part forming or improving relationships with various power players throughout Tennessee.

The full conceptual powers and understandings underlying the idea of criticality were, pardon the repetition, critical to what we were trying to accomplish as an association — expanding access to health care services. These services were broadly defined to include basic primary care, prenatal and postnatal care, elderly care, homeless (now referred to as unhoused) care, veterans care, prisoners care, among other categories. Our member clinics were responsible for demonstrating that they were working in all these areas. And that was impossible. These clinics definitely did not have enough staff and not enough money and not enough time in the day.

The Gallery had national calls for submissions. I organized a nonprofit board of influential members, in one way or another, associated with the arts or the use of arts in program and economic development. The first exhibit was from Amnesty International. They had a traveling curated exhibit of works by Picasso, Pollock, Chagall, and others. This set the tone for the Gallery and got us a lot of free press and TV coverage.

Subsequent exhibits were organized by my new board. For each exhibit, we coordinated with one or two social service agencies directly responsible for providing services in line with the them. We formed a partnership. We used each exhibit to garner visibility, and allowed our partner agencies to take the lead in introducing the exhibit to the public.

For example, the homeless exhibit resulted in an oversized book, including images from the exhibit and articles by key people in the field. Tipper Gore (former Vice President Al Gore’s wife) held a press conference in the Gallery, introducing a new bill to expand mental health services across the nation. The two nonprofit organizations we worked with raised considerable funds for new grants and services. And all our member clinics were able to indicate to the state and to the federal government that they had met the requirement for providing expanded access to the homeless.

An exhibit on the elderly showcased two artists, one a painter and one a photographer. Both of them focused considerable attention on the hands of their elderly subjects. We introduced the world to the cover art for the book When I Am An Old Woman, I Shall Wear Purple. Again, we partnered with two nonprofit organizations, coordinating marketing and promotion. We triggered the development of two trial programs. And all our member clinics were able to indicate to the state and to the federal government that they had met the requirement for providing expanded access to the elderly.

Access to Prenatal Care was the focus of another exhibit. We displayed the incredible and powerful photographic works of two California artists. We coordinated several different programs with both nonprofit and state agencies in Tennessee. We held a reception for the artists in our Gallery. This resulted in over 6 weeks of TV exposure — news casts, repeated over and over every day, TV program coverage, newspaper articles. Everyone wanted to use these powerfully presented images highlighting the issues of access to prenatal care. We provided the opportunity for them to do so. And all our member clinics were able to indicate to the state and to the federal government that they had met the requirement for providing expanded access to women who needed prenatal care.

We had an exhibit of art works done by Vietnam vets. Some were artistic, but most were crude, haunting, perhaps mostly meaningful only to other Vietnam vets. Every day over 6 weeks, three or four or ten veterans would come into the Gallery. Most homeless. Many had walked 10–20 miles to come. They were kind of scary to look at, and definitely not the types of people who would normally frequent our offices. They would stare at the works of art and sit in our Gallery for hours. Otherwise, it was the usual routine for us. Coordinate with other agencies with their marketing and development needs. And indicate to the state and the feds that our clinics were expanding access to services for this underserved population.

My Gallery was not without its detractors. They sat on the Association’s board of directors. In spite of all this positive activity, they did not see the benefit of a Gallery within their mists. To them, art meant buying a blue painting to hang over a blue couch. Social and political art was something uncomfortable for them, no matter how much they benefited from it. They did not comprehend arts relationship to health care. And, predictably, we had very few sales. In crass money terms, the Gallery was a cost center for the Association. The benefits, while extremely large, were primarily intangibles. Luckily for me, my Association board stalemated on this issue.

I defended the Gallery until I left the Association. I believed it was critical to our operations and those of our member clinics. It triggered partnerships and visibility and awareness. It increased the accessibility of services throughout the state without burdening the limited resources of our member clinics. Major foundations in Tennessee, which had had the Association on their Do-Not-Deal-With Lists, took us off those lists.

But, when I left the Association, I closed the Gallery down at that point. There was no one at the Association to take over the reins. It was not self-sufficient financially.

My next career move was to sell jewelry and eventually design it.

And ventured into new worlds of criticality. Or, if I think about it, perhaps the same worlds, but different words, different scale.

Legitimacy

Coping with criticality goes hand in hand with developing a sense of legitimacy as a designer. Criticality gives you insights on how to become legitimate. Legitimacy gives you the fortitude for listening to, understanding, and responding to criticality.

Your legitimacy as a jewelry designer, your reputation, your visibility, your opportunities, to some degree, flow from this process of criticality. Legitimacy comes from both local and more general validation. Validation results from these processes of critical observation and analyses of your work and of how you conduct yourself within your practice.

Your legitimacy encompasses several aspects which are determinative of it, including:

(1) Qualifications: formal education, training, certification
(2) Experience: projects you’ve worked on, skills you possess, your portfolio
(3) Reputation: reviews, client recommendations, industry recognition
(4) Ethics: how you professionally interact to meet your client needs
(5) Authenticity: how your original work differentiates you from other jewelry designers, given your values and desires, your craftsmanship, your creativity

Your various audiences that view your work critically, in turn, bring your work in contact with the external world, what is referred to as contagion. They look for a high level of coherence within the design and its execution. They describe it critically as to its qualifications for matching desire, establishing appeal, having personal or general value and meaning. For successful jewelry designers, this contagion continues, diffuses, and grows.

Legitimacy engenders a deeper level of confidence among designer, wearer and viewer. The relationships are stimulated, enriched, given more and more value. Jewelry is more than a simple object; it is a catalyst for interaction, for relationships, for engagement, for emotion. Legitimacy results in trust and validation.

With globalization and rapid technological changes, the jewelry designer is confronted with additional burdens, making the effort to achieve legitimacy ever more difficult. That is because these larger forces bring about more and more standardization of jewelry, and with it, a diminished need for criticality. These forces rapidly bring fashions and styles to the fore, only to scrap them, in the seemingly blink of an eye, for the next hot thing. They channel images of jewelry pieces around and around the world taking on a sameness, and lowering people’s expectations to what jewelry could be about.

If the products around the world are essentially the same, then the only thing the customer will care about is price. They won’t care who made it. They won’t care about quality. There will be no critical evaluation or assessment of designer legitimacy. Jewelry design and the jewelry designer would, in effect, become meaningless — merely a tool of production.

Innovation begins to disappear. With its disappearance, the role of the jewelry designer diminishes. The jewelry designer becomes more a technician with no professional identity or concerns. No need for authenticity or design fluency or originality. The jewelry simply becomes the sum of its parts — the market value of the beads, metals and other components. There are few, if any, pathways to legitimacy.

That’s not what we want. And that makes it ever more important that jewelry designers see themselves as professionals, and develop their disciplinary literacy — fluency, flexibility and originality in design. Aspects of design which cannot be globalized. Or standardized. Or accomplished without the work, knowledge, skills, understandings and insights of a professional jewelry designer.

You can’t achieve this without a framework for criticality in the jewelry design process.

Questioning and analyzing.

Challenging assumptions and values.

Finding contradictions or weaknesses in perspectives.

Going beyond norms.

Exploring alternatives.

The fluent designer.

The legitimate one.

Criticism can be used to suppress legitimacy in design. It can be used to force the designer into a particular incompatible or undesirable framework or system. This kind of criticism needs to be challenged.

However, criticism can also be used to overcome suppression, allowing for a more professional, purposeful, innovative, responsible and authentic jewelry designer to emerge.

A designer who has ownership over his or her own designs.

_______________________________________________________

I have set up a space for our community of jewelry designers — Warren Feld Jewelry’s PATREON HUB — to learn, to interact, and to provide and/or get feedback on what they are working on. Please join here.

Be part of a community of jewelry designers who recognize that we have a different way of thinking and doing than other types of crafters or artists. Access more articles and other resources not included in my medium.com site.

Visit my website www.warrenfeldjewelry.com

Feel free to add your comments.

Shop with us at Land of Odds.

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

INSTAGRAM SERIES: What You Need To Know, How You Should Proceed, What Works Best For Jewelry Designers

Posted by learntobead on August 7, 2024

Be part of a community of jewelry designers who recognize that we have a different way of thinking and doing than other types of crafters or artists. Access more articles and other resources not included in my medium.com site.

THE INSTAGRAM SERIES (14 parts)

Instagram is perhaps the best place to attract and find customers for your jewelry design work. In this INSTAGRAM SERIES, I cover some of the most frequent concerns and insights jewelry designers have about marketing on Instagram.

I have found, from personal experience as well as the experience of literally hundreds of my jewelry design students and customers, that Instagram is perhaps the best place to attract and find customers for your work. Social media marketing is not difficult, but it takes an inordinate amount of time. This marketing time takes a lot of time away from your creative time.

I have written this series of articles to provide insight and encouragement with your marketing on Instagram. I cover some of the most frequent concerns jewelry designers have about marketing on Instagram. I’m always cognizant of the tensions between business and creativity, and I hope this information will save you a lot of time to spend on your creativity side.

I suggest concentrating on only two social media sites, and that Instagram be your primary one. You want to set up a professional/business account on each. If you want to post personal things, then set up a separate personal account on each. Don’t mix the two things.

TOPICS COVERED:

INTRODUCTION

1. 20 Most Frequently Asked Questions Jewelry Designers Ask About Instagram

Marketing on Instagram can be both exciting and challenging for artists. Here are the 20 most frequently asked questions artists have about marketing on the platform. Continue reading here…

2. Making People: STOP, STAY, ENGAGE

The Instagram algorithm ranks and rates your posts based on making people STOP, STAY and Engage. Continue reading here…

3. HASHTAGS

The most useful way to be found on Instagram is to use hashtags. Think of hashtags as like books in a library — how will someone find them? Continue reading here…

a. Researching Them

Picking the best and right hashtags for your jewelry design business requires some research, understanding your audience, and analyzing your data. Continue reading here…

b. 50 Best Jewelry Designer Hashtags

Using the right hashtags can significantly boost your reach and engagement on Instagram. Here are 50 popular hashtags for jewelry designing and making. Continue reading here…

c. 50 Most Banned Hashtags

Using banned hashtags on Instagram can lead to reduced visibility of your posts or even account suspension. Some are obvious, others not so. Continue reading here…

d. Branded Hashtags

Create your brand-specific hashtag to make it easy for people to find you, your business, things you have made, workshops and shows your are involved with. Continue reading here…

4. Images and Reels

Some best-practices advice for using images and reels on Instagram. Continue reading here…

5. Best Posting Strategies for Jewelry Designers

What Makes Up The Best Instagram Posting Strategies For Jewelry Designers? Continue reading here…

6. Best Instagram Jewelry Design Related Posts

To get a feel for what an excellent jewelry design post looks like on Instagram, check out what others are doing. Here are some renowned postings. Continue reading here…

7. How Often Should I Post

Each post is your chance to get recognized by Instagram so that they more widely distribute it. Yes, it must be a great image. But posting also requires more strategizing. Continue reading here…

8. Don’t Let This Happen To You

Don’t let Instagram take over You. It is a tool for You to use. It is not a tool for Instagram to use You. Continue reading here…

9. Self Care and Social Marketing

Balancing self-care with social media marketing is crucial for jewelry designs in maintaining their creativity, well-being and motivation, while effectively promoting their work. Continue reading here…

10. CONNECTIONS:

To succeed as a designer and to succeed as a business, you need to be connected to the outside world. Continue reading here…

a. With Other Jewelry Designers

Connecting with other jewelry designers is invaluable and very easy. Important to nurture relationships. Opportunities will follow. Continue reading here…

b. Curating Your Own Show On Instagram

Instagram is an outstanding curatorial tool. Collaborate with great jewelry designers for a showing online (or offline). Continue reading here…

c. With Press And Other Publications

Use Instagram to meet jewelry design journalists, both online and off. Great opportunities to increase your visibility. Continue reading here…

d. With Galleries and Boutiques

Getting the attention of galleries and boutiques is important. This means, getting your posts in front of them, having a profile/bio that resonates with them, and writing meaningful comments on things they themselves post. Continue reading here…

11. STRONG FOUNDATIONS

Instagram is a very easy way for people to check you and your work out, and see you as a professional designer. Continue reading here…

a. Edit Your Profile/Bio

Instagram is a very easy way for people to check you and your work out, and seeing you as a professional designer. Your Profile/Bio should anticipate this. Continue reading here…

b. Clean Up Your Posts

Cleaning up your posts on a professional or business Instagram account is essential for maintaining a polished and cohesive brand image. Continue reading here…

c. Post Strong Images

What makes a great Instagram post? — Something that captures people’s attention, and makes them stay around awhile. Continue reading here…

d. About Including Text

Don’t overthink your text for your Instagram posts. The image is 90% of the battle, the text only 10%. Instagram is a visual medium for visual people. Continue reading here…

e. Feed vs. Stories

On Instagram, the Feed and the Stories serve different purposes. Your feed must be very curated, professional, and brand-reconfirming. Your stories are meant to be more casual, like behind the scenes topics or personal things about the designer. Continue reading here…

12. Takeaways

Instagram used to be like a personal blog. Today it is not. Today it is a professional representation of you as a jewelry designer. Continue reading here…

13. Data Analysis Using Instagram Insights

On Instagram, there are several advantages and opportunities for accruing more followers. But remember, it is their ENGAGEMENT that Instagram measures and likes the most. That is where Instagram Insights comes in. Continue reading here…

14. Using Jewelry Design Influencers On Instagram

If you have some money to budget to use influencers, they can speed up everything for you. Continue reading here…

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I have set up a space for our community of jewelry designers — Warren Feld Jewelry’s PATREON HUB — to learn, to interact, and to provide and/or get feedback on what they are working on. Please join here.

Be part of a community of jewelry designers who recognize that we have a different way of thinking and doing than other types of crafters or artists.

Visit my website www.warrenfeldjewelry.com

Feel free to add your comments.

Shop with us at Land of Odds.

Posted in Art or Craft?, art theory, bead stringing, bead weaving, beads, beadwork, business of craft, color, craft, craft shows, creativity, design management, design theory, Entrepreneurship, handmade jewelry, jewelry, jewelry collecting, jewelry design, Learn To Bead, pearl knotting, professional development, Resources, wire and metal | Tagged: instagram posting, social media marketing | Leave a Comment »

Blending Your Goals With Your Process: Things You Should Be Thinking About.

Posted by learntobead on July 22, 2024

How do you prioritize goals when you have many projects and possibilities competing for your attention?

We’re approaching the busy 4th quarter jewelry-sales season. As you are busily trying to increase your inventory, either for sales or gifts, I think it’s a good time to ask yourself about your goals.

Goals are things that tell you where you want to end up and what you want to achieve. They help you make sense of, make choices about, set priorities for all the overwhelming set of things that have to get done to keep your business or avocation on the right track. That is, on the right track so that you do not get overwhelmed, paralyzed, frustrated, angry or disappointed.

You don’t want to get stuck wondering what the future should be.

You set goals and let them guide you in your decision making simply because you want to maximize your creative time, minimize your non-creative time, and end up with a satisfying degree of accomplishment and profit.

Ask yourself these questions:

How do you prioritize goals when you have many projects and possibilities competing for your attention?
How can you identify the things that really matter in your business or avocation, and stay focused on them?
What is your current mindset around goal-setting, and how can you improve it?

Think of your set of goals as a strategy roadmap of what you want to do, and what is more important to get done. This roadmap needs to cover these topical areas:

Financial things
Customer satisfaction things
Administrative procedure things
Learning and growth things

You can use this strategy roadmap to keep score. At any time. In any part of the process. With whatever you are doing. What is your score, and how does it reflect a balance in everything you need to do and get done?

Think In Terms Of Circles And Overlaps

When keeping score and finding balance, it is useful to visualize your goals as a set of circles. Each circle represents (a) a set of activities, (b) a set of choices to be made, © a dependency on the availability of resources, and (d) a list of desired outputs and outcomes.

Where the circles overlap, called a Venn Diagram, these become the primary set of things to focus on, do and accomplish. These become the major things to which you score and balance. These are the options that get a first look and first dibs. As your list of things to think about and do get further and further away from where the circles overlap, the less important they are.

In your Venn Diagram, you will have 4 circles — the four types of things listed above which your strategy roadmap needs to cover — money, customers, procedures, and personal growth.

You want to train yourself to start thinking of your business or avocation in terms of circles and overlaps. Instead of thinking it has to be black or white, or left or right, or one separate thing after another, think of things in grays or middle grounds, or things which gel together or integrate together. The question for you is NOT: How can I do one thing or another? The question should be: How can I do one thing concurrently with another? How can you get the best of both worlds?

Goal Setting (Systems Thinking)

So, for each of the 4 topical areas above, you might list 10 options you want to do in order to accomplish the topical area satisfactorily. The goal here is quantity, not necessarily quality. Get 10 options for each topical area on the table.

Lay these out like a deck of cards into 4 columns.

Now, narrow down these options. Which ones co-occur or are co-dependent or where one can be done instead of another? Which ones are more important than others? You want to begin to define those optimum points between efficiency and effectiveness.

How would the benefits of A look like coupled with the benefits of B, so that I can benefit from both and find that middle path?

As you are narrowing down your options, do you begin to discover new options? Can you add these as more cards to your list, as you are rejecting others? Perhaps there is a more ideal option as you are thinking about the benefits that might result from all your cards.

Train your thinking process to be systems thinking. Your goals (that is, in this exercise, your cards) are destinations. Your process for evaluating, rejecting, creating, converging, diverging options is a process. Systems thinking is this process.

Blend your goals and your process orientation. You want to minimize the times when you feel lost and not sure of what you should do next. Systems thinking helps you here. It helps you identify what things you want to be involved with now. Such involvement gets you to that future without having to overly ponder it.

Set your time frame: Reality always changes. New opportunities arise, others close. It’s useful to think of your goal options in terms of this week, this month, this quarter.

Constantly adjust your process actions to new opportunities as these arise.

Follow through. Adjust as necessary. Think about the next logical steps. Following through and a willingness to adjust as necessary and thinking ahead leads to success.

Last, Step Back and Exercise Your Metacognitive Skills

It is important to be aware of your thinking process at all times. This is called metacognition.

Reflect on what you were thinking, what options you were delineating, how you were choosing some and not others, and why.

Do you find your mind-set more goal-oriented or more process oriented?
Do you need to balance these out?
What strategies can you employ to find that best balance between goal-orientation and process-orientation?
Are you thinking too much in the future, or getting too lost in the day-to-day?

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

**Be part of a community of jewelry designers who recognize that we have a different way of thinking and doing than other types of crafters or artists.

Engage with a community. Benefit from its collective power — insights, reactions, feedback, foresight, and directing you to opportunities.

Never miss an update. You won’t have to worry about missing anything. Every new article of interest, and announcements about kits, workshops and webinars, chat group, feedback session, and special promotions, goes directly to your inbox.

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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.
Take my tutorial on THE JEWELRY DESIGNER’S APPROACH TO COLOR .

Follow my articles on Medium.com.

Check out my books on Amazon.com

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

Follow my series HOW TO BEAD A ROGUE ELEPHANT.

Visit Land of Odds online (https://www.landofodds.com)for all your jewelry making supplies. Use this coupon code XFOREVER25 to get a 25% discount on your order!

Check out my Jewelry Making and Beadwork Kits.

Add your name to my email list.

___________________________________________

Posted in Art or Craft?, bead stringing, bead weaving, beads, beadwork, business of craft, craft, craft shows, creativity, design management, design theory, design thinking, Entrepreneurship, handmade jewelry, jewelry, jewelry design, jewelry making, Learn To Bead, pearl knotting, professional development, wire and metal | Tagged: financial-planning, goal-setting, goals, motivation, personal-development | Leave a Comment »

HOW TO GROW YOUR EMAIL LIST: LEAD MAGNETS

Posted by learntobead on July 21, 2024

These days, a lot of business marketing and branding activities occurs through and on the computer. One core aspect of your business depends on attracting “eyeballs”. You might be expanding your email contact list. You might be trying to accumulate fans and followers. You might be trying to expand readers, customers, members and subscribers.

Towards these ends, one of the primary things you will do is expand your email contacts list. One of the most productive and successful ways of doing this is to offer a lead magnet. A lead (pronounced ‘leed’) magnet is a tangible thing you promise to deliver to your audience if and when they register their email address with you.

Crafting The Lead Magnet

Your lead magnet should be concrete, focused and actionable. The less abstract it is, the better.

It should be easy to consume. You do not want to overload the target customer with information.

It should have a recognizable value. Do not be cheap here; do not feel you are giving away secrets.

It should trigger and reconfirm a great impression of you and your work.

Again, make it a clear thing. It could be things like:

· Checklist of supplies and tools to have on hand in your studio

· An e-book, such as jewelry silhouettes vis-à-vis body and face shapes, or guide to getting started on Instagram

· A tutorial or project instructions

· A downloadable

· A ticket to access something else, such as getting into a private showing of your work

· A voucher, like a discount coupon for a piece of jewelry you have made

· A short how-to video

A physical lead magnet will work better than something nonphysical.

Give your benefit a name. The name should confirm that the benefit is a physical thing of value that the customer will get, thus rewarding the customer for sharing their email address with you (or registering on your website).

#’s, capital letters, symbols in messages catch attention.

Be A Generous Giver

You want to influence someone to establish a 1 to 1 relationship with you, when that someone is not familiar with you and your work. Think about what might motivate them. That thing is your lead magnet. Think about the best way to leverage your lead magnet in order to asset your influence.

You establish a sense of reciprocity. Be generous and they will trust you.

Keep their work simple. Ask them to make a micro-commitment — simple to get, little work for them, but a big asset for you.

Build In A Contingency

You can set some kinds of limits to heighten the customer’s motivation to follow through. Create a sense of urgency to comply with your call to action. For example,

· Your ‘benefit’ runs out in 30 days

· If you are the first 10 to sign up, you get a 2nd benefit

Examples of lead magnets:

· Free mini-lesson, ebook or guide on a technique or project or how to get started making jewelry

· Discount coupon for classes, supplies, pieces of jewelry

· Tutorial videos

· Jewelry making supply list, curated favorite jewelry making supplies, and how to use them

· Exclusive access to a webinar

· Printable color wheels

· Exclusive piece of jewelry, like a stretchy bracelet

· Live preview of new pieces you have made (before showing them to the public)

· Jewelry appreciation guide — techniques, materials, history

· Behind the scenes content so that they can see your creative process

· Personalize jewelry recommendations

· Survey their tastes so you can match these to your jewelry pieces which are currently available

· Collector’s guide: how to get started, caring for jewelry, how to determine value

· Jewelry-themed desk top wallpaper; mobile wallpaper: perhaps featuring your work

· Virtual jewelry show ticket — showcase your latest work

· Local Art and craft show calendar, particularly if you will be showing at these

· Various checklists

· Article about how to buy gemstones

· Invite to ZOOM or chat session for a Q&A about jewelry making or problem solving

Delivering Your Lead Magnet

As a jewelry designer, you want to convert exposure into prospects. This means you want to deliver your lead magnets everywhere you think you can get exposure to the types of people you want to stay in touch with you.

You might list it as your E-signature on emails, or on your business cards, in your social media profiles, on your website.

Example: In your Instagram bio: DM me “LIST” to get my upcoming materials checklist when it is ready. Then in response to their DM, return with, “Which email address should I sent it to when ready?”

If you are directly someone to a form for collecting email addresses, instead of heading that form: Join My Email List, focus on the lead magnet. For instance, you might write: Get my free guide to …

If you are creating videos and reels, your last slide my be that call to action: Get my free guide to…

__________________________________

~~~~~~~~~~~~~~~~~

***Be part of a community of jewelry designers who recognize that we have a different way of thinking and doing than other types of crafters or artists.

Engage with a community. Benefit from its collective power — insights, reactions, feedback, foresight, and directing you to opportunities.

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

Follow my articles on Medium.com.

Check out my books on Amazon.com

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

Follow my series HOW TO BEAD A ROGUE ELEPHANT.

Visit Land of Odds online (https://www.landofodds.com)for all your jewelry making supplies. Use this coupon code XFOREVER25 to get a 25% discount on your order!

Check out my Jewelry Making and Beadwork Kits.

Add your name to my email list.

_________________________________________________________________

Posted in Art or Craft?, bead stringing, bead weaving, beads, beadwork, business of craft, craft, craft shows, Entrepreneurship, handmade jewelry, jewelry, jewelry collecting, jewelry design, jewelry making, Learn To Bead, professional development, wire and metal | Tagged: digital-marketing, email marketing, fashion, jewelry, lead magnet, marketing | Leave a Comment »

INSTAGRAM, The Best Site For Promoting Your Jewelry, Has Changed Its Algorithm — Better For Us, Let Me Explain How

Posted by learntobead on June 14, 2024

I have found Instagram the best social media site for promoting your jewelry sales, and their algorithm has changed for the better for us

Before, Instagram would show new posts to 1% of your followers first and, depending on the response, share further.

This favored accounts with a large following, such as influencers or jewelry designers with especially large followings, since their 1% is a lot more than the 1% of a small account.

Now, every new post will be shown to a random group of users, usually ones with a shared interest in the kind of posts you create. Think: followers of your followers who don’t yet follow you will get prioritized. Aggregators accounts, like influencers, will get diminished a bit. In a similar vein, co-occurring is this situation: If you post an image on your own feed as well as with an influencer’s feed, that image will only appear on your own feed, not on the influencer’s. Instagram’s goal is to reward originality and the creator.

This is great news for smaller accounts: it widens the funnel of potential engagement with each post.

Reels are still important, but they’re no longer the only ones.

Focus on posting a mix of Reels, still images, and carousels. Should NOT be all reels all the time.
The important factor is that you are giving your followers value. Make them feel like you are giving them something.

Give people something to read (in the post or the caption)
Provide an insider point of view to your jewelry-making process
Choose an eye-catching cover image for all posts (hook them)

Better lighting often solves many issues of gaining and keeping attention. Also bring people in close to the elements in the image. Focus on a a section of the piece. Show them your hands at work. Don’t pull back for that wide shot of everything necessarily.

Bring people in close, show them what you’re doing.

Give viewers a reason to watch your entire Reel.

NO’s: Instead of simply showing your work, using captions such as:

❌ “Here’s my latest piece of jewelry…”
❌ “I have an event coming…”
❌ “My website is now live…”

YES’s: Capture their attention first, and then make your announcement:

✅ “Here’s how I turned this run-of-the-mill necklace into an exciting one..” finishing with “This piece is now available”
✅ “You won’t believe how this piece turned out…” followed by “Come see this piece live at my next show.”

WARNINGs: Less time-lapse of showing each step after it has been completed, and more showing something actionable, like implementing each step.

Come up with something that will make people hang out until the interesting part.
Come up with things to make people stick around. Bring them close-in to the action.
Be sure they see you sometime in the images.
Be sure, at the end or towards the end, they see the outcome, such as the finished piece or section of the piece, or completed step.

End with a CALL TO ACTION. Such as, direct them to your website where they can purchase the finished piece, or to your website where they can sign up for your newletters.

__________________________________

I hope you found this article useful. Please consider sharing.

I’d welcome any suggestions for topics (warren@warrenfeldjewelry.com)

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

Follow my articles on Medium.com.

Check out my books on Amazon.com

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

Follow my series HOW TO BEAD A ROGUE ELEPHANT.

Visit Land of Odds online (https://www.landofodds.com)for all your jewelry making supplies. Use this coupon code XFOREVER25 to get a 25% discount on your order!

Check out my Jewelry Making and Beadwork Kits.

Add your name to my email list.

_________________________________________________________________

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

So You Want To Be A Jewelry Designer reinterprets how to apply techniques and modify art theories from the Jewelry Designer’s perspective. To go beyond craft, the jewelry designer needs to become literate in this discipline called Jewelry Design. Literacy means understanding how to answer the question: Why do some pieces of jewelry draw your attention, and others do not? How to develop the authentic, creative self, someone who is fluent, flexible and original. How to gain the necessary design skills and be able to apply them, whether the situation is familiar or not.

588pp, many images and diagrams Ebook , Kindle or Print formats

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

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Posted in Art or Craft?, bead stringing, bead weaving, beads, beadwork, business of craft, craft, craft shows, Entrepreneurship, handmade jewelry, jewelry, jewelry design, jewelry making, Learn To Bead, pearl knotting, professional development, Resources, Stitch 'n Bitch, wire and metal | Tagged: accessories, beadwork, fashion, instagram, jewelry, marketing, Style | Leave a Comment »

IF YOU WANT A SUSTAINABLE JEWELRY DESIGN CAREER…Preventing The Business Side From Killing Your Creativity!

Posted by learntobead on May 19, 2024

by Warren Feld

There are so many different kinds of things you can do business-wise to promote your jewelry designs. Post on every social media site. Conduct several email campaigns. Take out ads. Create websites. However, all these can get overwhelming and begin to impede on your time and energy for creating jewelry. To prevent this, it is important to be organized. It is important to rely on more limited, predictable, easily accessible, repeatable systems of things you need to do to sustain both your jewelry designing and your business.

Some key business-related goals involve:

(1) Impression management

(2) Mentoring

(3) Audience recruitment and retention

(4) Networking and Partnering

(5) Selling

Some caveats:

(a) To create that manageability’ you want to do as much as you can from your computer

(b) In reality, selling actual pieces of jewelry, on average, only covers about 1/3 of your sustainability needs. You may have to take on additional work, and it makes the most sense that the work relate to jewelry designing.

(c) You are in the trust-creating business. You must be able to establish instant trust about the value of your work and the desirability of your work for your core buying audience.

Impression management

What impression does someone get from interacting with you, either online or in-person or through some other point-of-sale? To what degree can you influence and control this impression? Key things to consider:

o Website

o Email Etiquette

o Cold Calling

o Follow Through

Website. You want a professional website. This website will showcase your products. It will be home to lots of well-organized and accessible information, including: your bio, your art statement, your portfolio, testimonials, links to articles you have written, perhaps a creative-focused resume, and images of your work.

It might showcase shorter videos showing you at work, or delving into a particular work.

It will have links to your various social media pages. The layout, design and information presentation across social media sites needs to be very consistent across all your platforms. You should maintain separate pages for each social media for business vs. personal. You do not want anything personal to come up in your business page feed.

It may or may not have a shopping cart system attached. If not, then you need to make clear other alternatives for how people can buy your products from you.

It will have a FAQ page detailing contact information, purchasing and return policies, payment methods, any privacy concerns.

It will have a clear way for people to add their names to your mailing list.

Email Etiquette. It is critical to generate an email list of customers/potential customers. You want them to very formally and visibly opt-in to the list. You can generate sign-up sheets, online forms, and the like towards this end. You can also segment your list into smaller, targeted groups.

Email will be your best, primary and most powerful networking tool.

You can run your own email campaigns, or use an email client like MAILCHIMP (https://mailchimp.com) or CONSTANT CONTACT (https://www.constantcontact.com). I would suggest using an email client. This will prevent your own email address from getting blocked by the internet-powers-that-be as spam.

Each time you get someone’s email address to add to your list, send them a special email, thanking them. Also direct them to your website or online presence, such as on social media, with an active link.

A monthly contact is reasonable.

Caution: many anti-spam programs reject email addresses that begin with Info, Contact, Shop, Store, Help and other very generic terms.

In writing and tone, be professional. Don’t use the kind of quick texts or posts you might use on social media.

You do not want your email to appear that it is wasting anyone’s time. Use a polite greeting and closing. In your first sentence or two be very clear in conveying why you are writing this email specifically to them. Don’t ramble. Get to your points quickly. Don’t use long blocks of texts. Segment/section things and use subheadings throughout. You want the email to be scannable. Don’t use any or many images. None to two images would be more than enough. Wait to share images until after someone requests to see them. Do, however, include an active link to where they might find images of your works online.

To the best you can, personalize things as much as possible. Direct the email to a named person. Make things sound as if you are not sending out the same email to a long list of contacts.

Some examples of personalized phrasing:

o I visited your shop recently, and

o So and so suggested I contact you,

o I visited your website,

o I read about you in such-and-such magazine,

Cold Calling. With cold calling, you have two basic strategies: (a) Shoehorn, or (b) Direct. Whatever approach you use, be sure to have done some research about your target store/gallery, the designers they represent, a sense of preferred style and looks, and the characteristics of their primary customer audience.

With a shoehorn strategy, you begin to ease yourself into the world and universe of a particular store or gallery. You visit as a customer and ask questions. You contact and talk with other artists represented in the store. You participate in open houses and other events. You add your name to their emailing list. You begin to have more and longer conversations with the owner. Gradually you introduce the idea of having your jewelry represented in their venue. Always wear one or more pieces of your jewelry.

With a direct approach, you come into the store unannounced. Hopefully the owner is there then; otherwise, ask the staff when the best time to return is. Always wear one or more pieces of your jewelry. Be prepared with about 20 pieces, nicely organized and displayed in trays, that, if you are making headway, you can bring into the venue with you. It is also OK, if you have the inventory, to have even more pieces in your car that you can bring in, if it seems the owner is interested in purchasing some things.

If you are unable to visit in person, then send a letter. Don’t phone first. It is too easy for the store to ignore you. In your letter, keep it short and to the point. Establish your credibility as a designer, and clearly identify the fit between your work and their customer base. Sound authentic, not sales’y. Write about,

o Who you are

o Your style and design sense

o Why you think your jewelry would be a good fit for their customer base

o The materials and techniques you typically use

o Your previous experience selling your pieces

o Some sheets showing inventory, description, pricing

o End with a phrase like, “I’d like to get together with you to show my work in person. I will call you to set up an appointment, if interested.”

o Add links to your website of places which show your jewelry.

Follow Through. Be very clear about this: You are not an information-sharer. Rather, you are a relationship builder. Sending out emails, posting on line, targeting letters, cold calling are all tools you use to build relationships. Relationships are built up by sharing understandings, not necessarily tid-bits of information. These understandings have to do with values, desires, assumptions, expectations, and perceptions. The more you establish shared understandings — and that does not mean having to have the same opinions — the tighter and more productive these relationships get.

If you are wanting a response to something from someone, and it’s not forthcoming in a reasonable time, follow up with that person.

If you have visited a store/gallery and had some conversation with someone there, follow up with a thank you note or some note that continues something about your conversation.

If someone sends you a comment about you or your work, send them a thank you note.

In your follow-ups, repeat the name of the person you are following up with.

Provide additional valuable information in your follow-up conversations.

Mentoring

Share your art/designer skills for a fee. You can teach classes or one-on-one. You can create instructional projects or tutorials. You can write articles. You can curate shows. You can become a coach. You can conduct online webinars.

Things have synergistic effects — they amplify other things you are doing. Mentoring will result in a larger, more targeted email list. Students will look for all the mentoring activities you do. Students often will buy your pieces. Mentoring will increase the number of topics you can talk about when networking.

Keep your initial goal simple: Aim to attract 5 students, interacting with them 1–4x each month, encouraging them to spend $50–250/student per month on your mentoring activities and product sales.

Audience recruitment and retention

What is most important about recruiting and retaining audience members is not the numbers of contacts, but the quality of your engagement with your contacts. Again, success is a matter of forming and sustaining one-on-one relationships. When you have relationships, it becomes much easier to ask for favors. On a regular basis, you can create content, for free, shared through emails, which helps you connect and form relationships with your core audience.

You don’t necessarily need 1000’s of people in your core audience. More likely, having 30–100 regular buyers of your work would suffice. This allows keeping connected and creating connections with your core audience much more attainable. Know what this limited group of buyers is looking for. Know where they hang out and where to find them. Offer them opportunities to interact with you and your jewelry, such as offering them a first look, or a time to watch you and learn a few design techniques as you work. Turn these buyers into true fans.

Think about:

o What does this core buyer care about?

o What does this buyer read?

o Where do you find this buyer?

o What resonates with this buyer?

Answers to these questions could help you shape your marketing message when explaining how your jewelry could elevate this buyer’s life. Inspiring your buyer. Building trust. Note: you are not creating jewelry for this buyer per se; rather, given the jewelry you are creating and want to create, this assists you in finding that audience who might share your values and understandings as expressed within your designs and by you as an authentic jewelry designer.

Networking and Partnering

When networking and partnering, you uncover more opportunities at less risk and cost to yourself, your creative energy, and your business fundamentals. There’s less effort to find opportunities. Less effort to put plans and projects into effect. Less effort to get visibility. Less effort to make a sale.

It might be useful to set a goal as making 3 networking contacts per week. Use your network to get help in creating these pitches. Make them shared pitches. Use the shared pitches to introduce yourself to their audiences, and conversely their products to your own audience.

Caveat: Always direct people to specific webpages relevant to any pitch. Do not direct them to your home page on your website.

Selling

As a jewelry designer, your self-concept is most likely one as an artist. But when you are in business, you need to expand this a bit and see yourself as both an artist and a salesperson. If this makes you feel a bit uncomfortable, it’s understandable, but you need to get over it. Jewelry doesn’t sell itself.

You want to always have on hand 15–20 coherent pieces available for sale. They need to feel as if they are part of a line of jewelry, with a similar emotional appeal to a defined target audience.

You want to have a list of about 50 places you could approach to carry your jewelry. Then you work the list, perhaps 3 contacts a week. Prioritize your contacts. Begin your process with your lower priority contacts so that you can gain some experience in presenting yourself and your products before approaching your most desired sites.

You do not close a sale. Keeping with a key theme of advice: You create a relationship. You are not selling a product. You are guiding someone, in a caring way, to come to understand how your jewelry might enhance and enrich their lives. You want them to make a buying decision that will be good for themselves. You are not trying to get something from them; rather, you are trying to give them something which will positively impact their lives. Your key skill here when selling is empathy.

Be bold and confident when introducing yourself.

Always ask the person you are talking with what their name is; repeat their name several times while speaking with them.

Ask a lot of questions; show interest in the client or customer. Get them talking about themselves. You should be talking about 25% of the time and your client/customer should be talking about 75% of the time.

A great story about your jewelry will sell it. They are especially interested in your inspiration, as well as your process for creating jewelry.

Don’t let your client/customer get away without at least asking them if they have any interested in purchasing your jewelry. Even if that person says No!, you would be in a better position than if you had not asked.

Final Words

Don’t let the business aspects of succeeding in jewelry design kill your creative spark. Instead, make each broad business goal into a set series of systematic, repeatable activities.

As you can see, much of all this effort can be done from your studio on your computer. This will save you vast amounts of time which you can devote to the creative side of your life. Less time jewelry marketing. More time jewelry making. The end results of these activities should be increased exposure, relationships and engagements.

The most successful designers have

o Step-by-step plans

o Associations with expertise

o Become a part of a peer audience and community

Make your jewelry design journey flourish. Take ownership over it — how you spend your time, energy and the use of resources around you. Put everything to best use to attain your own highest values.

__________________________________

I hope you found this article useful. Please consider sharing.

I’d welcome any suggestions for topics (warren@warrenfeldjewelry.com)

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

Follow my articles on Medium.com.

Check out my books on Amazon.com

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

Follow my series HOW TO BEAD A ROGUE ELEPHANT.

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.

_________________________________________________________________

CONQUERING THE CREATIVE MARKETPLACE: Between the Fickleness of Business and the Pursuit of Design

Kindle, Print, Epub

___________________________________________

Posted in Art or Craft?, bead stringing, bead weaving, beads, beadwork, business of craft, craft, craft shows, creativity, Entrepreneurship, handmade jewelry, jewelry, jewelry design, jewelry making, Learn To Bead, pearl knotting, professional development, wire and metal | Tagged: Business, craft business, Entrepreneurship, fashion, jewelry, marketing | 1 Comment »

WHY YOU SHOULD ENTER ART AND JEWELRY DESIGN COMPETITIONS

Posted by learntobead on May 17, 2024

Warren Feld

*I was 4th place finalist, Swarovski jewelry competition*

I highly recommend entering many art and jewelry design competitions each and every year. This is a good way to

· Raise your visibility

· Practice your self-promotion skills

· Get feedback on your work

· Gain more legitimacy and credibility

· Promote your value

· Keep aware of current trends and expectations in jewelry design

· Further inspire your clients

Competitions can supercharge your jewelry design growth and career.

The First Competition I Entered

In 2004, I submitted an entry (see image above) to the Swarovski Be Naturally Inspired jewelry design competition. I downloaded a copy of the rules and set to work. The project had to be at least 75% Swarovski Austrian crystal beads, stones, or other components. You had to submit an image of your final piece, an image of your inspiration, an artist bio, and an artist statement about your piece and how you translated your inspiration into the finished piece.

This image of the Grand Canyon at sunrise was my inspiration:

I set out to work. Created the general design, selected the technique I wanted to use, and with determination and a lot of trial and error, created the finished piece. In the process, I discovered that different Austrian crystal colors, when used together, tended to blur boundaries and lose some of that distinct color sense that I wanted. I had to solve that problem, which I did, by using black 1.8mm delica beads between each crystal bead. This helped create sharper boundaries.

Up until that point, I had not written any kind of bio or artist statement. I was uneasy about how to describe the finished piece, such as what to call attention to. I had to do several drafts of each. Was a great exercise.

Submitted the piece. Heard back that I was a finalist. Then I had to send them the original piece. I had trouble letting go and saying goodbye. I found one package to use, then rejected it. Then another package, and rejected that. The fifth packaging idea was finally satisfying. Then I held onto the ready-to-ship package for almost a week before taking it over to the UPS shop. I had to insure it. The value was priceless to me. But I had to pick a number. And I prayed that the package would not get lost or damaging.

Swarovski emailed me that it had arrived safely.

I was invited to the awards ceremony they held in their offices in New York City.

And said goodbye again to my piece which was headed for their museum in Innsbruck Austria.

You Are Always A Winner

Whether you win or lose, you are, in fact, experiencing a rich source of inspiration and learning. There never really is a setback.

At the very least, you most likely will be included in a publicly presented list of submitters. You have already increased your visibility.

If your submission is accepted, you have something to list on your resume or list of achievements. You can use this as talking points when selling to a client, store or gallery. You can add this information to wherever you showcase the submitted work. You can embellish your descriptions with information from the materials you submitted for contest entry.

You can generate press releases, social media posts, special email announcements. You can send out updates as your submission progresses through the competition process, such as should you become a semifinalist.

As you do these kinds of things to increase your visibility, this builds credibility and brand awareness. Many store and gallery owners watch these contests closely, often making note of the better pieces and their designers, often following the designers over their career.

Whether The Feedback Is Positive or Negative —
It Always Gives You A Better Understanding of Yourself As a Designer

Feedback provides clues to why your jewelry has VALUE to them. What do they want to know about it? How does the design help them solve a problem? What key attributes of VALUE should you promote to your clients?

Participating in competitions gives you a great opportunity to practice speaking about yourself and your jewelry, and seeing how others react.

Competitions provide many clues about what is relevant in the moment. They force you to figure out how to relate you and your design sense to a set of competition rules and expectations.

All this public visibility will actually inspire some people to spread the message about you. Generating word-of-mouth is often the most successful type of marketing.

Competitions Are Juried

Periodically do online searches for jewelry and art competitions. If the active link is a newsletter or mailing list of some sort, give them your email address. Some art competitions will allow submissions of jewelry; others will not.

Some sources of interest:

Women’s Jewelry Association

Jewelry Design Professionals’ Network

The Jewelers Resource Bureau

Last Note

Be sure to familiarize yourself with all the rules, particularly concerning deadlines, word count limits, image formats and maximum and minimum sizes.

____________________________________________

I hope you found this article useful. Please consider sharing.

I’d welcome any suggestions for topics (warren@warrenfeldjewelry.com)

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

Follow my articles on Medium.com.

Check out my books on Amazon.com

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

Follow my series HOW TO BEAD A ROGUE ELEPHANT.

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.

_________________________________________________________________

CONQUERING THE CREATIVE MARKETPLACE: Between the Fickleness of Business and the Pursuit of Design

Kindle, Print, Epub

___________________________________________

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

Don’t Get Caught Falling Into The Abyss of Self-Doubt: Are any of these 8 questions keeping you from designing jewelry?

Posted by learntobead on April 20, 2024

Warren Feld
11 min read

Keep From Letting ‘Doubt’ Paralyze You As A Jewelry Designer

For the novice, all that excitement at the beginning, when thinking about making jewelry and making some pieces, sometimes collides with a wall of developing self-doubt.

It’s not easy to quiet a doubt.

As a jewelry artist, you organize your life around an inspiration. There is some fuzziness here. That inspiration has some elements of ideas, but not necessarily crystal clear ones. That inspiration has some elements of emotions — it makes you feel something — but not necessarily something you can put into words or images or fully explain. You then need to translate this fuzzy inspiration into materials, into techniques, into color, into arrangements, into a coherent whole.

You start to make something, but realize you don’t know how to do it. But you want to do it, and do it now. However, to pick up the needed skills, you realize you can’t learn things all at once. You can’t do everything you want to do all at once. That initial excitement often hits a wall. Things take time to learn. There are a lot of trial and error moments, with a lot of errors. Pieces break. Combining colors and other design elements feels very awkward. Picking the right clasps and rings and connectors and stringing materials is fraught with implications. Silhouettes are confusing. You might get the right shape for your piece, but it is difficult to get the right movement, drape and flow, without compromising that shape.

To add to this stress and strain, you need to show your jewelry off. You might want someone to like it. To want it. To need it. To desire it. To buy it. To wear it. To wear it more than once. To wear it often. To exhibit it. To collect it. To show and talk about it with others. And how will all these other people recognize your creative spark, and your abilities to translate that spark into a wonderful, beautiful, functional piece of jewelry, appropriate for the wearer and appropriate for the situation?

Frequently, because of all this, the artist experiences some sense of doubt and self-doubt. Some paralysis. Can’t get started. Can’t finish something. Avoiding showing your pieces to others. Wondering why you became a jewelry designer in the first place.

Doubt holds you back from seizing your opportunities.

It makes getting started or finishing things harder than they need to be.

It adds uncertainty.

It makes you question yourself.

It blocks your excitement, perhaps diminishing it.

Doubt and Self-Doubt should be useful in forcing you to think about and question your choices. However, for many jewelry designers, it mostly holds them back.

Having doubt and self-doubt is common among all artistic types. After all, for much of what you do and how you spend your time, you’re mostly alone with your thoughts.

What becomes important is how you manage and overcome it. You do not want your doubts to get in the way of your creative process and disciplinary development. You want your doubts, rather, to inform them.

8 Major Ways Doubts Can Force You Into That Abyss

There are 8 major ways in which jewelry designers get caught beginning to fall into that abyss we call self-doubt:

1) What If I’m Not Creative Enough or Original Enough or Cannot Learn or Master or Don’t Know a Particular Technique?

2) What If No One Likes What I Make?

3) What If No One Takes Me Seriously As An Artist And Designer?

4) I Overthink Things and Am A Bit of a Perfectionist.

5) How Can I Stay Inspired?

6) Won’t People Steal My Work?

7) Being Over Confident or Under Confident

8) Role Confusion

1. What If I’m Not Creative Enough or Original Enough or Cannot Learn or Master or Don’t Know a Particular Technique?

Everyone has some creativity baked into their being. It is a matter of developing your way of thinking and doing so that you can apply it. This takes time.

So does originality. The word originality can be very off-putting, but it does not have to be.

At first, when you are getting started making jewelry, originality will mean that you will try different ways of personalizing projects. There are always things you can do to bring some aspects of originality to your pieces. This might be the choice of colors, or using a special clasp, or rearranging some elements in your composition.

Again, as with creativity, the ability to be more and more original will evolve over time. It is helpful to think of originality, not necessarily as coming up with something completely new, but rather as differentiation — how you differentiate yourself from other jewelry designers.

For almost everyone, you don’t begin your design career at the height of your levels of creativity and originality. Yes, if you look around you, other people are more creative and original than you or have more skills than you. Don’t let these observations be a barrier to your own development as a jewelry designer. You get there through persistence and hard work. You handle your inner critic. You may not be there, yet — the key word here is yet. But you will be.

2. What If No One Likes What I Make?

We all have fears about how our creativity and originality are going to be evaluated and judged. We project our self-doubts to the doubts we think we see and feel from others. What if no one wants to wear my pieces, or buy my works?

We can’t let these outsider reactions dictate our lives and creative selves. A key part of successful jewelry design is learning how to introduce what we do publicly. At the least, it is the core nature of the things we create that they are to be worn on the body. Jewelry is a very public thing.

Turn negative comments into positive ideas, motivators, insights, explorations. Allow yourself some give and take, some needs to step back awhile, some needs to tweak. Jewelry design and jewelry making are iterative processes. They in no way are linear. Your outcomes and their success are more evolutionary, than guaranteed.

Distressing about what others may think of your work can be very damaging to your self-esteem. It can amplify your worries. Don’t go there.

Don’t become your worst critic.

3. What If No One Takes Me Seriously As An Artist And Designer?

Jewelry design is an occupation in search of a profession. You will find that a lot of people won’t recognize your passion and commitment. They may think anyone can design jewelry. They may think of jewelry making as a craft or some subset of art, not as something unique and important in and of itself. They may wonder how you can make a living at this.

The bottom line: if you don’t take yourself seriously as a jewelry designer, no one else will.

People will take you seriously as they see all the steps you are taking to master your craft and develop yourself as a professional.

4. I Over Think Things And Am A Bit Of A Perfectionist

Some designers let a sense that their work is not as good as imagined get in the way. They never finish anything. They let doubt eat away at them.

Perfectionism is the enemy of the good. It’s great to be meticulous, but emotionally, we get wrecked when anything goes astray, or any little thing is missing, or you don’t have that exact color or part you originally wanted.

Go ahead and plan. Planning is good. It’s insightful. It can be strategic. But also be sure to be adaptable and realistic. Each piece is a stepping stone to something that will come next.

The better jewelry designer develops a Designer’s Toolbox — a collection of fix-it strategies to deal with the unfamiliar or the problematic.

Overthinking can be very detrimental. You can’t keep changing your mind, trying out every option, thinking that somewhere, someplace there exists a better option. Make a choice and get on with it. You can tweak things later.

Yes, attention to detail is important. But so is the value of your time. You do not want to waste too much time on trivial details.

Be aware when you begin over-analyzing things. Stop, take a breath, make a decision, and move on.

5. How Can I Stay Inspired?

Designing a piece of jewelry takes time, sometimes a long time. That initial inspirational spark might feel like it’s a dying ember.

Don’t let that happen.

Translate that inspiration into images, colors, words, sample designs, and surround your work space with these.

Talk about your inspiration in detail with family and friends.

6. Won’t People Steal My Work?

Many jewelry designers fear that if they show their work publicly, people will steal their ideas. So they stop designing.

Yet jewelry design is a very communicative process which requires introducing your work publicly. If you are not doing this, then you are creating simple sculptures, not jewelry.

Yes, other people may copy your work. See this source of doubt as an excuse. It is a self-imposed, but unnecessary, barrier we might impose to prevent us from experiencing that excitement as a jewelry designer. Other people will never be able to copy your design prowess — how you translate inspiration into a finished piece. That is unique and special to you. It is why the general public responds positively to you and your work.

7. Over Confidence can blind you to the things you need to be doing and learning, and Under Confidence can hinder your development as a designer.

Too often, we allow under confidence to deter us from the jewelry design and making tasks at hand. We always question our lack of ability and technical prowess for accomplishing the necessary tasks at hand. It is important, however, to believe in yourself. To believe that you can work things out when confronted with unfamiliar or problematic situations. It is important to develop your skills for thinking like a designer. Fluency. Flexibility. Originality. There is a vocabulary to learn. Techniques to learn. Strategies to learn. These develop over time with practice and experience. You need to believe in your abilities to develop as a designer over time.

With over confidence comes a naivete. You close off the wisdom to listen to what others have to say or offer. You stunt your development as an artist. You overlook important factors about materials and techniques to the detriment of your final designs and products. You close yourself off to doubt and self-doubt, which is unfortunate. Doubt and self-doubt are tools for asking questions and questioning things. These help you grow and develop as an artist and designer. These influence your ability to make good, professional choices in your career.

8. Role Confusion

Jewelry artists play many roles and wear different hats. Each has its own set of opportunities, requirements, and pressures that the artist must cope with. It’s a balancing act extraordinaire.

First, people who make jewelry wear different hats: Artist and Designer, Manufacturer, Distributor, Retailer, and Exhibitor.

Second, people who make jewelry have different needs: Artistic Excellence, Recognition, Monetary Gain, or Financial Stability.

Third, the artist needs to please and satisfy themselves, as well as other various clients.

Fourth, the artist constructs pieces which need to function in different settings: Situational, Cultural, Sociological, Psychological.

Last, the artist must negotiate a betwixt and between situation — a rite of passage — as they relinquish control over the piece and its underlying inspirations to the wearer and the viewer, who have their own needs, desires and expectations.

This gets confusing. It affects how you pick materials and supplies. Which techniques you use. What marketing strategies you employ. How you value and price things. Anticipating who your audience is. And the list goes on.

It is important to be aware (metacognitive) of what role(s) you play when, and why. Given the role, it is important to understand the types of choices you need to make, when constructing a piece of jewelry. It is critical to understand the tradeoffs you will invariably end up making, and their consequences for the aesthetic, emotional and functional success of your pieces.

Some Advice

While doubt and self-doubt can hinder our development as jewelry designers, some degree of these may be helpful, as well.

To develop yourself as a jewelry designer, and to continue to grow and expand in your profession, you must have a balanced amount of both doubt and self-doubt. Uncertainty leads to questioning. A search for knowledge. Some acceptance of trial and error and experimentation. A yearning for more reliable information and feedback.

Jewelry design uses a great deal of emotion as a Way of Knowing. Emotions cloud or distort how we perceive things. They may lead to more doubt and worry and lack of confidence. But they also enhance our excitement when translating inspirations into designs.

· Don’t let your inner doubts spin out of control. Be aware and suppress them.

· Be real with yourself and your abilities.

· Keep a journal. Detail what your doubts are and the things you are doing to overcome them.

· Create a developmental plan for yourself. Identify the knowledge, skills and understandings you want to develop and grow into.

· Remember what happened in the past the last time doubt got in your way. Remember what you did to overcome this doubt. Remember that probably nothing negative actually happened.

· Talk to people. These can be friends, relatives and colleagues. Don’t keep doubts unto yourself.

· Don’t compare yourself to others. This is a trap. Self-reflect and self-evaluate you on your own terms.

· Worrying about what others think? The truth is that people don’t really care that much about what you do or not do.

· Don’t beat yourself up.

· Get re-inspired. This might mean surrounding yourself with images and photos of things. It might mean a walk in nature. It might me letting someone else’s excitement flow over to you.

· Take breaks.

· See setbacks as temporary.

· Celebrate small steps.

· Keep developing your skills.

· Set goals for yourself.

_______________________________

I hope you found this article useful. I’d welcome any suggestions for topics (warren@warrenfeldjewelry.com)

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.

_________________________________________________________________

CONQUERING THE CREATIVE MARKETPLACE: Between the Fickleness of Business and the Pursuit of Design

Kindle, Print, Epub

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

Ebook , Kindle or Print formats

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!

Ebook, Kindle or Print

SO YOU WANT TO DO CRAFT SHOWS: 16 Lessons I Learned Doing Craft Shows

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BASICS OF BEAD STRINGING AND ATTACHING CLASPS

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

I need your help writing an article – beginning as a jewelry artist/designer

Posted by learntobead on April 18, 2024

Hi everyone,

I need your help.

I am writing an article about how jewelry designers began their careers/hobbies/avocations.

I would be interested in you sharing your stories.

Some of the questions I want to explore in my article:

1) How did you get started making jewelry? motivations, intentions, whether the start was very dramatic or mundane, whether you thought it was fate, destiny, luck, personal choice. Was there a particular point in time, or some kind of evolution?

2) What was your first moment of validation like? Not when you started making jewelry per se, but when you started telling people and feeling like an ‘artist’ or ‘designer’. It might have been a quiet admission, coming out to yourself as an artist. It might have been something public, like selling a piece, exhibiting it, some reaction from a client. It might have been some kind of break-through or finding newness or inspiration. It might have been a feeling of originality. A lot of people make jewelry, and can be very talented at it, but do not consider themselves as ‘artists’ or ‘designers’.

3) To what extent did beginning as a jewelry artist/designer feel like a response to society or family or local culture? Art doesn’t exist only because of feelings and emotions. There is a complex infrastructure within which the jewelry designer needs in order to survive. How would you describe this infrastructure within which you work and because of it you can survive. To what extent does it help you to enhance your work and vocation? To what extent does it impede you?

4) Were there special circumstances that were critical in your beginning and development as a jewelry artist/designer? Were there specific excitements, anxieties, challenges you faced?

5) For you, was there a beginning, and then a beginning again? Describe how difficult it was to begin again. How did it feel/seem to question or know whether you could create again?

6) What kinds of things have enabled you to keep going as a jewelry artist/designer? What contributed to your ability to survive your creative life?

I may or may not reference what you share in my final article. Unless you specifically tell me it’s OK, I will not use anyone’s real name in my article.

I appreciate you taking the time to share. I know a lot of jewelry designers and would-be jewelry designers can learn a lot from your experiences.

Warren
warren@landofodds.com

www.warrenfeldjewelry.com

That’s it for now! There is a lot of creative expression all around the world right now. Hope you get to experience a lot of it, either first hand, or through social media online.

WSF

Posted in Art or Craft?, art theory, bead stringing, bead weaving, beads, beadwork, business of craft, creativity, design thinking, jewelry design, jewelry making, Learn To Bead, pearl knotting, professional development, wire and metal, Workshops, Classes, Exhibits | Tagged: art, crafts, handmade jewelry, jewelry, jewelry making | 4 Comments »

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The Jewelers’ Palette, 11/15/2024

Join my community of jewelry designers on my Patreon hubFrom Warren andLand of Odds

Hi everyone,

2. I created several kits using leather cord and larger hole glass beads, and call your attention to these. They make great gifts!

3. I encourage you to take advantage of the very low prices of delica beads on the Land of Odds website.

4. If you have the resources, I strongly suggest you look into furthering your jewelry design education by attending a degree program. Here are the top 30 jewelry design programs in the United States:

1. Rhode Island School of Design (RISD) — Providence, RI

2. Savannah College of Art and Design (SCAD) — Savannah, GA

3. Fashion Institute of Technology (FIT) — New York, NY

4. California College of the Arts (CCA) — San Francisco, CA

5. Parsons School of Design — New York, NY

6. Pratt Institute — Brooklyn, NY

7. Cranbrook Academy of Art — Bloomfield Hills, MI

8. University of the Arts — Philadelphia, PA

9. School of the Art Institute of Chicago (SAIC) — Chicago, IL

10. Temple University’s Tyler School of Art — Philadelphia, PA

11. University of Washington — Seattle, WA

12. Virginia Commonwealth University (VCU) — Richmond, VA

13. SUNY New Paltz — New Paltz, NY

14. Massachusetts College of Art and Design (MassArt) — Boston, MA

15. University of Oregon — Eugene, OR

16. California State University, Long Beach (CSULB) — Long Beach, CA

17. University of Georgia — Athens, GA

18. University of Kansas — Lawrence, KS

19. Texas State University — San Marcos, TX

20. Indiana University Bloomington — Bloomington, IN

21. North Bennet Street School — Boston, MA

22. College for Creative Studies (CCS) — Detroit, MI

23. Kent State University — Kent, OH

24. University of Illinois at Urbana-Champaign — Champaign, IL

25. Rochester Institute of Technology (RIT) — Rochester, NY

26. Appalachian State University — Boone, NC

27. University of North Texas (UNT) — Denton, TX

28. University of Wisconsin-Milwaukee (UWM) — Milwaukee, WI

29. Arizona State University (ASU) — Tempe, AZ

30. Oregon College of Art and Craft (OCAC) — Portland, OR

6. I’ve added additional articles to my collection HOW TO BEAD A ROGUE ELEPHANT. Check these out:

7. I liked this recent quote from KLIMT02

8. Now is a good time to begin planning for enrichment travel and skills development opportunities you might take advantage of in 2025. Here are some ideas:

1. Gemstone Mining Experience in Sri Lanka

2. Jewelry Design Retreat in Bali

3. Italian Goldsmithing Tour in Florence, Italy

4. Diamond District Tour in Antwerp, Belgium

5. Native American Jewelry Workshop in Santa Fe, New Mexico

6. Gemstone Safari in Tanzania

7. Paris Jewelry Week

8. Jewelry Design Masterclass in Jaipur, India

9. Silversmithing Workshop in Taxco, Mexico

10. Luxury Jewelry Show Tour in Dubai

11. Art Deco Jewelry Tour in New York City

12. Lapidary Arts Course in Idar-Oberstein, Germany

13. Pearl Cultivation Workshop in Okinawa, Japan

14. Scandinavian Design Tour in Copenhagen, Denmark

15. Thai Gold and Gemstone Tour in Bangkok, Thailand

16. Russian Enameling and Filigree Workshop in St. Petersburg

17. Artisanal Gold Mining Tour in Colombia

18. Swiss Watchmaking and Jewelry Workshop in Geneva, Switzerland

19. African Beadwork and Jewelry Design Tour in Ghana

20. Modern Jewelry Design Course in Barcelona, Spain

SOME POSTS YOU MAY HAVE MISSED:

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Join my community of jewelry designers on my Patreon hub
From Warren and
Land of Odds

Repairs Stumping You?
Let Me Take A Look

Join my community of jewelry designers on my Patreon hub
From Warren and
Land of Odds

In This Newsletter,
as well as,
on our Jewelry Designer’s Hub!

Repairs Stumping You?
Let Me Take A Look

Join my community of jewelry designers on my Patreon hub
From Warren and
Land of Odds

In This Newsletter,
as well as,
on our Jewelry Designer’s Hub!

Repairs Stumping You?
Let Me Take A Look

My Interest In Creating A Visioning Plan
For The ARTSWORKS ART DISTRICT

About Placemaking
(based on information from ArtPlace America
https://www.artplaceamerica.org/ )