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Archive for the ‘craft shows’ Category

Tapping Into That Creative Element Is Such A High

Posted by learntobead on July 28, 2022

Translating thoughts, feelings, emotions into color, form, structure. Can never get enough of this. But where does all this creativity come from?

I remember in college — way back when — I took a physiological psychiatry class with a professor name Ina Samuels. Dr. Samuels was one of my mentors. She discussed what was new-thinking then, how the brain is this self-actualizing entity. Thoughts reside less in certain defined areas of the brain, and are more a collection of organized chemical-electrical pathways traversing the brain, all around and within it. Memories are more defined pathways that get traversed a lot.

The brain has the ability to invent, and re-invent itself. It is self-stimulative. The brain pleasures itself with creative thoughts over and over and over again each day. Sexy. Sensual. The act of creating is almost masturbatory. The brain discovers, organizes, reinforces and remembers.

Of course, I did not wax so eloquently on my final exam in Dr. Samuel’s class. She gave me a C, and I was embarrassed to have performed so poorly. I got carried away with creatively building upon my understanding of neural pathways, synapses, and thinking — too much so, that my thoughts were way off course. I carried the discussion to mechanics of three way connections and power boosters and revolving tracks — all ideas never before expressed in texts or classes or on final exams.

Yes, I let my creativity carry the day. While it didn’t earn me a good grade at the time, it sure was fun. To be wrapped up in my insights, imaginations, and good ole fashioned, solid in an organizing way, brain sex.

_______________________________

Thank you. I hope you found this article useful.

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

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

Follow my articles on Medium.com.

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

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

Check out my Jewelry Making and Beadwork Kits.

Add your name to my email list.

_________________________________

Other Articles of Interest by Warren Feld:

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

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

What Is Jewelry, Really?

The Jewelry Design Philosophy

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

Disciplinary Literacy and Fluency In Design

Becoming The Bead Artist and Jewelry Designer

5 Essential Questions Every Jewelry Designer Should Have An Answer For

Getting Started / Channeling Your Excitement

Getting Started / Developing Your Passion

Getting Started / Cultivating Your Practice

Becoming One With What Inspires You

Architectural Basics of Jewelry Design

Doubt / Self Doubt: Major Pitfalls For The Jewelry Designer

Techniques and Technologies: Knowing What To Do

Jewelry, Sex and Sexuality

Jewelry Making Materials: Knowing What To Do

Teaching Discplinary Literacy: Strategic Thinking In Jewelry Design

The Jewelry Designer’s Approach To Color

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

The Jewelry Designer’s Path To Resonance

Jewelry Design Principles: Composing, Constructing, Manipulating

Jewelry Design Composition: Playing With Building Blocks Called Design Elements

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

__________________________________

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

588pp, many images and diagrams Ebook or Print

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

184pp, many images and diagrams Ebook or Print

SO YOU WANT TO DO CRAFT SHOWS

16 Lessons I Learned Doing Craft Shows

198pp, many images and diagrams Ebook or Print

___________________________________________

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

Don’t Price Yourself Out Of Business

Posted by learntobead on July 28, 2022

Parts, Labor Overhead

One of my clients, Jan, had taken a few of my classes, was very excited about beading and jewelry making. She began selling her pieces to the people she worked with. She was a traveling salesperson for a health care company, and met lots of people on her travels. And everyone wanted her pieces.

Week after week, Jan would return to the shop and buy a few hundred dollars of beads. and week after week, she enthusiastically reported that she was selling her pieces right and left. After several months, she remarked that she needed to take my Pricing class. As she continued to talk and elaborate about her pricing strategies, she remarked that she typically added $15.00 to the cost of her materials, and that sometimes, her prices were probably lower than the cost of her materials.

Hmmmm….

So if she paid $55.00 for the materials in her piece, she might price it at $70–75.00. A great deal for her customer. But not so great for Jan. I told her to raise her prices.

…And sign up for my online video tutorial about Pricing and Selling Your Jewelry.

_______________________________

Thank you. I hope you found this article useful.

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

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

Follow my articles on Medium.com.

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

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

Check out my Jewelry Making and Beadwork Kits.

Add your name to my email list.

_________________________________

Other Articles of Interest by Warren Feld:

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

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

What Is Jewelry, Really?

The Jewelry Design Philosophy

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

Disciplinary Literacy and Fluency In Design

Becoming The Bead Artist and Jewelry Designer

5 Essential Questions Every Jewelry Designer Should Have An Answer For

Getting Started / Channeling Your Excitement

Getting Started / Developing Your Passion

Getting Started / Cultivating Your Practice

Becoming One With What Inspires You

Architectural Basics of Jewelry Design

Doubt / Self Doubt: Major Pitfalls For The Jewelry Designer

Techniques and Technologies: Knowing What To Do

Jewelry, Sex and Sexuality

Jewelry Making Materials: Knowing What To Do

Teaching Discplinary Literacy: Strategic Thinking In Jewelry Design

The Jewelry Designer’s Approach To Color

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

The Jewelry Designer’s Path To Resonance

Jewelry Design Principles: Composing, Constructing, Manipulating

Jewelry Design Composition: Playing With Building Blocks Called Design Elements

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

__________________________________

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

588pp, many images and diagrams Ebook or Print

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

184pp, many images and diagrams Ebook or Print

SO YOU WANT TO DO CRAFT SHOWS

16 Lessons I Learned Doing Craft Shows

198pp, many images and diagrams Ebook or Print

___________________________________________

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

Why Some Jewelry Sells and Other Jewelry Does Not

Posted by learntobead on July 28, 2022

My niece’s 6-year old daughter told me the other day, “Warren, I wish I could get a job where I can make bracelets all day!” How cute! She definitely would have a lot of fun making jewelry. She most certainly could make money doing it. But I don’t think she was old enough to appreciate the amount of work, strategic thinking, and marketing and good business sense involved, in order to succeed.

But maybe she did. Jewelry making tapes into our creative souls, our artistic essence. The fact that you can make money at it, moreover, serves to heighten the experience.

Two girls — one 12 and one 13 years old — were determined to make money that summer. They had had some experience setting up a lemonade stand last year, but they were ready to make the big bucks. So they turned to jewelry. They created an attractive shelter along the side of the road, and posted clever signs — REFRESHING SPARKLES — to catch drivers going and coming in either direction. Instead of lemonade, however, their customers found cool earrings, and breezy necklaces, and yummy bracelets. And the two girls found success!

While there are many business challenges for jewelry designers, — young and old, alike — you can most assuredly answer the question — Can You Really Make Money Selling Jewelry? — with a resounding YES! It takes some planning. Some Moxie. Some start-up money. Some marketing. And some luck. But it can be done.

For people who sell their jewelry, their art is both a business as well as a source of creativity and self-expression. To be successful, they need to bring an understanding of business fundamentals to the business, and they need to find enthusiasm for business in similar ways to how they found their passion for jewelry. There will be ups and downs, as the economy changes or fashions and styles change. They will wear multiple hats — designer, distributor, manufacturer, retailer — and not always be sure which hat to wear when. They will need to understand marketing, pricing and selling. They will need to have a feel for reading and understanding people.

Successful jewelry design businesses today share several traits. They have a focus on what they do as a business model. They are comfortable working long stretches in a production mode — even though this can be very boring for the artist. They have some comfort level with both bricks and clicks. I don’t think you can have a successful business today without both a real physical presence somewhere and some on-line visibility as well.

Jewelry businesses today also must learn to quickly adapt to competition. This is not only competition from other local, regional or national jewelry designers, but from overseas, as well. Remember in the 1970s, when Asian manufacturers started selling low cost Native American jewelry, they almost put the Native American jewelry makers out of business. Today Chinese lampwork companies are wiping out the opportunities for low-end, simple, basic lampwork glass beads made in America. And adapt is the key word here. It may mean having to specialize in higher quality items, or relying on materials or designs unique to your locale. It may mean having to provide more educational and informational materials with your products to give them a competitive advantage.

Your market today may be international. if you have images of your pieces on-line, then someone in Taiwan or France can view posted images just as easily as someone in Nashville or San Francisco. They may buy your designs. They may copy your designs. Reality, what a concept here.

Successful jewelry designers keep their work fresh and relevant. They build in evaluative components into their business. They do a lot of product and ideas research. They experiment with concepts and other markets. They acutely know their competition. They strive to create a brand identify for their pieces. Branding not only best secures your client to you as a designer, but makes it that much difficult for other jewelry makers to copy your work and present it as their own.

_______________________________

Thank you. I hope you found this article useful.

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

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

Follow my articles on Medium.com.

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

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

Check out my Jewelry Making and Beadwork Kits.

Add your name to my email list.

_________________________________

Other Articles of Interest by Warren Feld:

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

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

What Is Jewelry, Really?

The Jewelry Design Philosophy

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

Disciplinary Literacy and Fluency In Design

Becoming The Bead Artist and Jewelry Designer

5 Essential Questions Every Jewelry Designer Should Have An Answer For

Getting Started / Channeling Your Excitement

Getting Started / Developing Your Passion

Getting Started / Cultivating Your Practice

Becoming One With What Inspires You

Architectural Basics of Jewelry Design

Doubt / Self Doubt: Major Pitfalls For The Jewelry Designer

Techniques and Technologies: Knowing What To Do

Jewelry, Sex and Sexuality

Jewelry Making Materials: Knowing What To Do

Teaching Discplinary Literacy: Strategic Thinking In Jewelry Design

The Jewelry Designer’s Approach To Color

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

The Jewelry Designer’s Path To Resonance

Jewelry Design Principles: Composing, Constructing, Manipulating

Jewelry Design Composition: Playing With Building Blocks Called Design Elements

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

__________________________________

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

588pp, many images and diagrams Ebook or Print

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

184pp, many images and diagrams Ebook or Print

SO YOU WANT TO DO CRAFT SHOWS

16 Lessons I Learned Doing Craft Shows

198pp, many images and diagrams Ebook or Print

___________________________________________

Posted in Art or Craft?, bead weaving, beads, beadwork, business of craft, craft shows, creativity, jewelry design, jewelry making, wire and metal | Tagged: , , , , | Leave a Comment »

Often Unexpected, Always Exciting: Your First Jewelry Sale

Posted by learntobead on July 28, 2022

How many times have you heard a jewelry artist say…

I can’t bear to part with my pieces.

My jewelry is too precious to me.

I only give a few pieces that I make away as gifts to friends and family.

I’ve never sold anything.

Selling would take the fun out of it.

And then, someone offers to buy a piece she is wearing, and the rest is history. A sale! Sold! They paid so much more than it cost me! Right off her wrist! Gotta make another! That was so fast! That was so easy!

My friend Connie used to make things only for friends. She always wore the things she made. At one point, she was repeatedly approched in various stores around town by women who wanted to buy the pieces aroundher neck.

At first, Connie quoted them, what she thought were outlandish prices. No one hesitated. Connie was awe-struck, but didn’t say No. I don’t know if she secretly wore a sign on her back — JEWELRY FOR SALE — or, somehow stuck out her cheek in such a way, as if asking to be kissed, that people came over to her, but she was getting quite good at attracting buyers. At TJMAX, at TARGET, at MACY’s, at DILLARDS, at SEARS, at KROGERS and PUBLIX. She kepy upping her prices each time, and no one had yet to blink!

Jona had made many things before, but had never sold anything. Then she had one of those weeks. It started in a Dalt’s restaurant. The waitress had to have them. She had to have Jona’s earrings. She had to have them now. Any price. So Jona suggests a price, the waitress laid the money on the table, and Jona slowly removed each earring from each ear, and said a silent Good-bye. Later that week, one of her friends was desperate. The wedding was this weekend. The piece of jewelry she had purchased for herself went lost. She remembered one of Jona’s pairs, and asked for it, and insisted on paying for it.

Elizabeth wanted to show her best friend at work the kinds of jewelry she was making. One day, she brought a box of jewelry in with her to work. At lunch time, they spread all the pieces out on a table. All of a sudden, the table was mobbed by other women in the lunch room. They were grabbing, trying on, and throwing money down right and left.

Ingren had a box of her mother’s jewelry stored away in a closet. She didn’t particularly like these pieces, and would never wear them, but knew they had some value. She took pictures of each one, and placed them on EBAY to see if she could auction them off. She sold all but one within a week’s time.

Those first jewelry sales can result in a big high. They are thrilling. Exciting. Very motivating. Selling that first piece feels like it can change your life.

But it’s that second sale that begins to determine if you can make a business out of it. Can you do it again? Is it as much fun? Now all of a sudden you have to think about record keeping, government forms, tracking inventory, maing enough product, adequately pricing your stuff, and marketing to recruit and retain customers.

The situation doesn’t seem quite the same anymore.

But believe me, it’s not as onerous as it might appear at first.

And selling your jewelry keeps getting better and better and better!

_______________________________

Thank you. I hope you found this article useful.

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

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

Follow my articles on Medium.com.

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

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

Check out my Jewelry Making and Beadwork Kits.

Add your name to my email list.

_________________________________

Other Articles of Interest by Warren Feld:

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

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

What Is Jewelry, Really?

The Jewelry Design Philosophy

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

Disciplinary Literacy and Fluency In Design

Becoming The Bead Artist and Jewelry Designer

5 Essential Questions Every Jewelry Designer Should Have An Answer For

Getting Started / Channeling Your Excitement

Getting Started / Developing Your Passion

Getting Started / Cultivating Your Practice

Becoming One With What Inspires You

Architectural Basics of Jewelry Design

Doubt / Self Doubt: Major Pitfalls For The Jewelry Designer

Techniques and Technologies: Knowing What To Do

Jewelry, Sex and Sexuality

Jewelry Making Materials: Knowing What To Do

Teaching Discplinary Literacy: Strategic Thinking In Jewelry Design

The Jewelry Designer’s Approach To Color

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

The Jewelry Designer’s Path To Resonance

Jewelry Design Principles: Composing, Constructing, Manipulating

Jewelry Design Composition: Playing With Building Blocks Called Design Elements

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

__________________________________

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

588pp, many images and diagrams Ebook or Print

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

184pp, many images and diagrams Ebook or Print

SO YOU WANT TO DO CRAFT SHOWS

16 Lessons I Learned Doing Craft Shows

198pp, many images and diagrams Ebook or Print

___________________________________________

Posted in Art or Craft?, bead weaving, beads, beadwork, business of craft, craft shows, creativity, jewelry design, jewelry making, wire and metal | Tagged: , , , , | Leave a Comment »

Visiting Jewelry Artisans Studios and Shops in Istanbul, Turkey

Posted by learntobead on July 20, 2022

Before the pandemic, I was trying to arrange some Enrichment Travel tours. One was to Rome. This was part of the itinerary. If any group wants me to lead a Jewelry Discovery Tour to Rome or elsewhere, I would be happy to talk with you about this. — Warren@warrenfeldjewelry.com

Some favorite sites and studios in Instanbul:1. Topkapi Museum, Treasury Section Guided Tour

Once the palace of the Sultans of the Ottoman Empire, Topkapi is a vast treasury of Islamic culture, jewelry, costumes, science and weaponry. This tour is of the Treasury section (7 Halls of Exhibits) of the Topkapi Palace Museum (3rd courtyard) where you will find masterpieces of Turkish art of jewelry from different centuries and exquisite creations from the Far East, India and Europe.(2 hours guided tour of Treasury Section; 1–2 hours free time for guests to wander other parts of museum on their own.)
Open every day except Tues, 9am-4:45pm (til 6:45 in april- october)
2015: most of Treasury Section is under restoration and is closed; check back for when work is finished)

WALKING TOUR OF ARTISAN JEWELRY GALLERIES IN NISANTASI / TESVIKIYE AREA
Nisantasi / Tesvikiye is one of the best shopping districts of Istanbul. It contains designer label stores, very nice restaurants and cafes, a beautiful mall, and a few outstanding hotels. It is home to several galleries showcasing the best of Turkish jewelry artists and artisan jewelry. The store hours in this district are typically 11–7pm Tuesday through Saturday. Need to verify Monday and Sunday hours.

  1. Urart (abdi ipekci Cad. 18/1)

One of Turkey’s most established jewelry companies, Urart makes re-creations, and also chic interpretations, of ancient Anatolian designs and motifs, Hittite symbols of noblesse and glory, the arabesques of Islamic art speaking to the infinity, Seljuk tiles echoing the dreams of the Silk Road or fluid objects of modern life… Design commits to matter, not only the striking form but also the wisdom that abides at the heart of a culture.

2. Fenix (abdi ipekci Cad, Deniz Apt No: 20 D:4)

Fenix aims to bring the beautiful creations of Turkish jewelry brands such as Tohum and Alosh to the enthused consumer.

3. Zeynep Erol Taki Tasarim (Atiye Sok, Yuva Apt No: 8 D:3)

İn her first years, Zeynep Erol was mainly inspired by nature and created forms with her own modern interpretation. İn later years however, her designs have become more geometrical. Zeynep Erol’s Jewelry reflects her spiritual inner world, affections, relations, feelings, desires and change in the philosophy of life. The main materials used by Zeynep Erol in creating her pieces are; green, white and red gold (18k) together with silver (950). The selection of the remaining materials and the precious stones are chosen differently for each particular theme she wants to get across. A wide range of materials such as coconut shells, pearls, brilliants, sapphire, ruby, emeralds, quartz, glass, rose cut and uncut diamonds, sandalwood and feathers are used by her as necessary.

4. Aida Bergsen Jewellery (abdi Ipekci Cad., Atiye Sokak Ak Apt No:7, Daire 8)

Based in Istanbul, jeweller and sculptor Aida Bergsen creates jewellery with different themes that reflect traces of her hometown and its multi-layered cultural fibre. She Draws inspiration mainly from mythological heroes, organic forms and the human anatomy. Each of her wearable sculptures are meticulously crafted in wax then transformed into timeless jewels using traditional techniques.”I try to re-inerprate traditional crafts and skills in jewellery making in order to create a more contemporary approach. I like to have a play on the contrast between light and shadow as I believe it is key in capturing form at a deeper level.”Aida

Bergsen was awarded with the “étoile de mode” at BIJHORCA in Paris and she was named the first runner- up for the very prestigious Couture Show Las Vegas in 2011 and 2014.

5. ECNP Galeri — Elacindoruknazanpak (Ahmet fetgari sokak No: 56)

ECNP Gallery is a contemporary jewelry gallery showing the designs and collections of Ela Cindoruk and Nazan Pak. Partners since 1989, Ela and Nazan’s designs and creative process have reflected their philosophy of ‘less is more’. The duo have participated in numerous fairs in Turkey and abroad; their works can be found in many museum shops and galleries. Ela has received the 2012 Red Rot Design Award. Same year, the creative duo was awarded 2012 Jewelry Designer of the Year Award of Elle Style Awards. On September 2014, the designers opened their new showroom and studio, on the 21st year work anniversary. The showroom also has a gallery under its roof, Ela and Nazan’s a long time dream, a reflection of their commitment to design and aesthetic and their ambition to this gallery hosts design exhibits and aims at becoming a meeting point for the design/art world.

6. Soda, (Tesvikiye Mh, Sakayik Sokak No:1)

SODA, founded in 2010, focuses on contemporary trends in art, particularly of jewelry artists. They are interested in showcasing the use of new materials and design concepts. Some permanent artist representations as well as rotating exhbitis.

7. Alef (Tesvikiye Mh, Haci Emin Efendi Sokak, No:4)

This goldsmith adapts classical goldsmith principles to contemporary techniques and designs. Alef’s founder, jewelry designer Yeşim Yüksek,

8. Boybeyi (abdi ipekci Cad. No: 10)

BoyBeyi is a family-run business that has been around for more than 100 years, their collection features many traditional rose-cut diamonds, as well as modern and colorful pieces, all inspired by the Turkish culture.

WALKING TOUR OF JEWELRY GALLERIES, JEWELRY AND BEAD SHOPS IN AND NEAR THE GRAND BAZAAR

This walking tour takes you in and around the Grand Bazaar, discovering jewelry galleries displaying works by local artists, as well as a myriad of stores in the Grand Bazaar which sell jewelry, beads and beading supplies.

  1. Tiara (yavuz Sinan mah., rakip gumus pala cad. No; 69)

Antique jewelry, award-winning designs, modern designs that reflect trends in the world, some might find at Tiara Jewelry … Byzantine, Roman and Ottoman cultures, inspired by the collections, since the ancient civilizations in history has produced reflections of jewelry. Traditional hand-made items by craftsmen in the production of valuable, native jewelry lovers to win the admiration of the foreign guests

2. Kafkas (kalpakcilarbasi cad.)

Widely considered to be one of Istanbul’s top jewellers, with several locations throughout the city. The cuffs are studded with precious stones, the necklaces are vintage-inspired, and the gold rings are topped with enormous yellow diamonds. The Bazaar outpost is Kafkas’ first store, and you’ll often find the owners presiding behind the glittering displays.

3. Sevan Bicakci (gazi sinan pasa sok No 16)

Sevan Bıçakçı has started his journey as a jeweler when he was only 12 years old as an intern in Hovsep Çatak’s workshop. His first personal collection that he created in 2002 was inspired by the historical Grand Bazaar — Sultanahmet area where he spends a considerable part of his daily life. Since then his unique designs that require intensive craftsmanship have been attracting the attention of collectors as well as some distinguished stores.

4. Walk up Nuruosmaniye Caddessi Past the heart of jewelry and bead stores in the Grand Bazaar

There are piles and piles of antique rings, bracelets, necklaces, and earrings from Central Asia, as well as walls covered in strands of colorful beads made out of precious and semiprecious stones.

OPTIONAL: 3 block side trip to http://www.haciburhan.com) aka Emin Bead Company, Sterling Silver Handcrafted Turkish Beads. Sell different silver jewelry, beads and accessories for silver jewelry. Wholesale. Eminsinan Mah. Yeniceriler Cad. Evkaf Sok. No: 15 (Formerly 9) Cemberlitas, Fatih (verify store hours)

5. Angel Old Jewellery (kiliccilar sok., cuhaci han No: 36)

When you’re visiting this tiny, poorly lit (the blindingly bright interior doesn’t do their products any justice) store, you will be transformed into a museum where you can purchase anything you want from a collection of princess-worthy jewelry. From tiaras to necklaces, brooches to bracelets, these elegant pieces are bedecked with intricate, precious stones like diamonds. This store has both antique pieces, as well as new jewelry that looks vintage due to a special ageing method they use.

6. Bagus (cevahir bedesteni sok, kapali carsi D: 133)

In the Grand Bazaar’s Cevahir Bedestani, Bagus sells the proprietor’s own reasonably priced collection of handmade jewelry made with silver and semiprecious stones as well as intriguing pieces imported from countries including India, Nepal, Thailand, and Indonesia.

warren@warrenfeldjewelry.com
www.warrenfeldjewelry.com

_______________________________

Thank you. I hope you found this article useful.

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

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

Follow my articles on Medium.com.

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

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

Check out my Jewelry Making and Beadwork Kits.

Add your name to my email list.

_________________________________

Other Articles of Interest by Warren Feld:

Resiliency: Do You Have The Most Important Skill Designers Must Have?

Disciplinary Literacy and Fluency In Design

Backward Design is Forward Thinking

How Creatives Can Successfully Survive In Business

Part I: The First Essential Question Every Designer Should Be Able To Answer: Is What I do Craft, Art or Design?

Part 2: The Second Essential Question Every Designer Should Be Able To Answer: What Should I Create?

Part 3: The Third Essential Question Every Designer Should Be Able To Answer: What Materials (and Techniques) Work Best?

Part 4: The Fourth Essential Question Every Designer Should Be Able To Answer: How Do I Evoke A Resonant Response To My Work?

Part 5: The Firth Essential Question Every Designer Should Be Able To Answer: How Do I Know My Design Is Finished?

Doubt / Self-Doubt: 8 Pitfalls Designers Fall Into…And What To Do About Them

Part 1: Your Passion For Design: Is It Necessary To Have A Passion?

Part 2: Your Passion For Design: Do You Have To Be Passionate To Be Creative?

Part 3: Your Passion For Design: How Does Being Passionate Make You A Better Designer?

__________________________________

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

588pp, many images and diagrams Ebook or Print

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

184pp, many images and diagrams Ebook or Print

SO YOU WANT TO DO CRAFT SHOWS

16 Lessons I Learned Doing Craft Shows

198pp, many images and diagrams Ebook or Print

___________________________________________

Posted in Art or Craft?, bead weaving, beads, beadwork, craft shows, creativity, cruises, design management, design thinking, enrichment travel, jewelry collecting, jewelry design, jewelry making, Learn To Bead, pearl knotting, Stitch 'n Bitch, Travel Opportunities, wire and metal, Workshops, Classes, Exhibits | Tagged: , , , , | Leave a Comment »

A Visit To Jewelry Artisans and Galleries In Rome, Italy

Posted by learntobead on July 20, 2022

Before the pandemic, I was trying to arrange some Enrichment Travel tours.    One was to Rome.     This was part of the itinerary.   If any group wants me to lead a Jewelry Discovery Tour to Rome or elsewhere, I would be happy to talk with you about this.

ROME 1.  JEWELRY GALLERIES WALKING TOUR, ROME.  There are several stores/galleries specializing in artisan jewelry, with both some very famous local jewelry designers, as well as some less known between the Piazza di Spagna (Spanish Steps) and Piazza del Orologi.     This is a 1.25 mile (2.1km) leisurely jewelry shopping tour along ancient walking streets in the heart of historic Rome, where we discover the works of local jewelry artisans. (5 hour walking tour with dinner break; begin at 3pm (any day except Monday) when these shops are most likely to be open.  Typical hours:  open 10-1:30pm and 3:30-7:30pm).

  1. Damiani, via condotti 84 (All Damiani collection jewels are exclusive and unique creations, combining the allure of Italian jewelry with the unmistakable, always modern and fashionable Damiani taste.)
  2. Nicola Boncompagni, via de Babuino 15 (vintage jewelry)

        3. Oreficeria Franchi, via di Ripetta 156 (works of enrico franchi)

   4. Melis Massimo Maria, via dell’Orso 57 (ancient techniques reproduced in gold)

5. Studio Giorelleria R. Quattrocolo, via della Scrofa 54 (both antique jewelry and jewelry produced in their own workshop studio, including their line of micro-mosaics)

6. Alternatives, via della Chiesa Nuova 10  (Specializes in contemporary. Avant guard jewelry and is dedicated to the promotion of both newcomers and internationally established artists from all over the world)  

7. Del Fina Delettrez, via Governo Vecchio 67 (Delfina Delettrez Fendi is a designer and jeweller based in Rome. Original use of figurative surrealism and natural iconography including hands, eyes, bees, and lips.)

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

ROME 2.  SHOPPING TRIP TO ARTISAN MARKET IN ROME.    Visit to Mercato Monti, 30+ artisans selling fashions, jewelry and accessories, first 3 Sundays and last Saturday of the month, 8am-8pm, inside exhibit hall of Palatino Hotel, via Leonina 46.   (4 hours)

warren@warrenfeldjewelry.com

www.warrenfeldjewelry.com

Posted in Art or Craft?, art theory, bead weaving, beads, beadwork, business of craft, craft shows, creativity, design theory, design thinking, enrichment travel, jewelry collecting, jewelry design, jewelry making, Learn To Bead, pearl knotting, Stitch 'n Bitch, Travel Opportunities, wire and metal, Workshops, Classes, Exhibits | Tagged: , , , , | Leave a Comment »

DESIGNWORKS: Getting Credit Terms For Your Business

Posted by learntobead on July 15, 2022

Getting Terms

Whenever possible, I suggest trying to get net terms with your suppliers. Net terms is a form of trade credit. Instead of paying upfront for your supplies, your suppliers will give you some predetermined period of time to pay for these goods. You get your supplies right away without having to pay until an agreed-upon future date.

Usually, you would get Net 30 terms, meaning you would pay within 30 days. Sometimes, if you have not paid within the terms set, you might get assessed a penalty fee.

To apply for net terms with any supplier, you would submit a Credit Sheet.

CREDIT SHEET

You will want to prepare a Credit Sheet which lists the following information. You give this sheet to businesses where you want to apply for terms.

When you buy things from businesses, you can pay cash (sometimes check or credit card) — this is considered Pre-Payment.

You can pay COD (cash on delivery), but there is usually an extra COD charge tacked on.

Or you can pay on terms or “on account”, usually signified as Net 30 or Net 10, where you would have 30 or 10 days to pay your bill. If you don’t pay within that time, the business may take away your privilege to buy on terms, or charge you a late fee.

___________________________________

FOOTNOTES

Fundbox.com. Trade Credit: Everything you need to know about net terms for your business. n.d.
As referenced in:
https://fundbox.com/resources/guides/trade-credit/

_______________________________

Thank you. I hope you found this article useful.

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

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

Follow my articles on Medium.com.

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

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

Check out my Jewelry Making and Beadwork Kits.

Add your name to my email list.

_________________________________

Other Articles of Interest by Warren Feld:

Resiliency: Do You Have The Most Important Skill Designers Must Have?

Disciplinary Literacy and Fluency In Design

Backward Design is Forward Thinking

How Creatives Can Successfully Survive In Business

Part I: The First Essential Question Every Designer Should Be Able To Answer: Is What I do Craft, Art or Design?

Part 2: The Second Essential Question Every Designer Should Be Able To Answer: What Should I Create?

Part 3: The Third Essential Question Every Designer Should Be Able To Answer: What Materials (and Techniques) Work Best?

Part 4: The Fourth Essential Question Every Designer Should Be Able To Answer: How Do I Evoke A Resonant Response To My Work?

Part 5: The Firth Essential Question Every Designer Should Be Able To Answer: How Do I Know My Design Is Finished?

Doubt / Self-Doubt: 8 Pitfalls Designers Fall Into…And What To Do About Them

Part 1: Your Passion For Design: Is It Necessary To Have A Passion?

Part 2: Your Passion For Design: Do You Have To Be Passionate To Be Creative?

Part 3: Your Passion For Design: How Does Being Passionate Make You A Better Designer?

__________________________________

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

588pp, many images and diagrams Ebook or Print

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

184pp, many images and diagrams Ebook or Print

SO YOU WANT TO DO CRAFT SHOWS

16 Lessons I Learned Doing Craft Shows

198pp, many images and diagrams Ebook or Print

___________________________________________

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

Getting Paid: The Designer’s Challenge and Some Strategies For Overcoming This

Posted by learntobead on July 15, 2022

Getting Paid

Getting paid for your work can range from the straight-forward to the nightmare. People love your work, but often, you will find that people will be slow or resistant to pay for it. You run into this with consignment shops. you run into this with custom work for clients. You run into this with retail shops to whom you’ve offered net 30 terms. You run into this with contract and grant work, particularly with government agencies and non-profits. You run into this with people who pay you by check. (NOTE: I don’t accept checks for payment in my own design work.)

You need to get paid so you can move on to the next project.

No money, no inventory, no once-in-a-blue-moon fancy dinner.

Structuring Payments

If you are doing a lot of custom work, your clients will probably pay you in increments, say 50% up front, and 50% upon completion.

If you are doing a lot of consignment, the shops may pay for anything of yours that sells perhaps quarterly. Beware that often consignment shops are slow to pay their consignees.

If you are selling wholesale to other retailers, you might have extended them terms, say Net 30, where you expect to get paid at the end of the term period. If you extend terms to someone, get them to complete a credit application ahead of time.

For each piece sold, or for several pieces sold at the same time, you will be generating some kind of invoice.

Each month, you might also be following up with your customers with a statement form, showing what has been paid, and what still needs to be paid.

INVOICE or STATEMENT FORMS (2-part forms — one for you and one for your customer). You can get a blank pad at a local stationery store, or have these pre-printed with your business name, address and phone.

More Advice

1. Establish a clear payment policy, put it in writing, post it on your website.

2. Find out in advance when the client or business will pay you.

3. Ask if the client needs a W9 form from you in order to pay you.

4. Be clear on whom in the company is responsible for paying you, and be sure to send your invoice to that particular person. If there are also special procedures for you to follow, in order to get paid, get clarity on these right up front.

5. Don’t be shy about using a collection service — even if this means you’ll only receive a portion (say 50%) of the money originally owed you.

6. Invoice your customers promptly.

7. Stay on top of your receivables. If a customer is late, send a reminder note. If a customer is very late, assess a penalty, say 1.5 or 2% per month. Be sure if you charge penalties that these are clearly specified in your written and posted payment policies.

8. Don’t worry about losing the customer. If you are polite but firm, the customer will probably stay with you. If the customer is a dead-bead, then you do not need to continue to do business with them.

9. For large orders, you might ask for a deposit, say 25–50%.

10.Accept multiple payment options. If someone is having difficulty paying you on time, perhaps they can pay you with a credit card.

11.You might offer early payment discounts.

12.Do not payout any commissions or royalties to sales or design staff until the full invoice is paid by the customer.

_______________________________

Thank you. I hope you found this article useful.

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

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

Follow my articles on Medium.com.

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

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

Check out my Jewelry Making and Beadwork Kits.

Add your name to my email list.

My ARTIST STATEMENT

My TEACHING STATEMENT.

My DESIGN PHILOSOPHY.

My PROFESSIONAL PROFILE.

My PORTFOLIO.

_________________________________

Other Articles of Interest by Warren Feld:

Resiliency: Do You Have The Most Important Skill Designers Must Have?

Disciplinary Literacy and Fluency In Design

Backward Design is Forward Thinking

How Creatives Can Successfully Survive In Business

Part I: The First Essential Question Every Designer Should Be Able To Answer: Is What I do Craft, Art or Design?

Part 2: The Second Essential Question Every Designer Should Be Able To Answer: What Should I Create?

Part 3: The Third Essential Question Every Designer Should Be Able To Answer: What Materials (and Techniques) Work Best?

Part 4: The Fourth Essential Question Every Designer Should Be Able To Answer: How Do I Evoke A Resonant Response To My Work?

Part 5: The Firth Essential Question Every Designer Should Be Able To Answer: How Do I Know My Design Is Finished?

Doubt / Self-Doubt: 8 Pitfalls Designers Fall Into…And What To Do About Them

Part 1: Your Passion For Design: Is It Necessary To Have A Passion?

Part 2: Your Passion For Design: Do You Have To Be Passionate To Be Creative?

Part 3: Your Passion For Design: How Does Being Passionate Make You A Better Designer?

__________________________________

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

588pp, many images and diagrams Ebook or Print

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

184pp, many images and diagrams Ebook or Print

SO YOU WANT TO DO CRAFT SHOWS

16 Lessons I Learned Doing Craft Shows

198pp, many images and diagrams Ebook or Print

___________________________________________

Posted in Art or Craft?, bead weaving, beads, beadwork, business of craft, craft shows, jewelry design, jewelry making, pearl knotting, professional development, Stitch 'n Bitch, wire and metal | Tagged: , , , | Leave a Comment »

Posted by learntobead on July 14, 2022

SO YOU WANT TO DO CRAFT SHOWS

16 Lessons I Learned Doing Craft Shows

Check out this new book by Warren Feld
Ebook or Print

Doing craft shows is a wonderful experience. You can make a lot of money at craft shows, you meet new people, you have new adventures. You learn a lot about business and arts and crafts designing.

IF… you do your homework when selecting them,
and verify all information

IF… you are very organized in preparing for them,
setting up, selling and re-packing up

IF… you promote, promote, promote.

In this book, I discuss 16 lessons I learned, Including How To

(1) Find, Evaluate and Select Craft Shows Right for You,

(2) Determine a Set of Realistic Goals,

(3) Compute a Simple Break-Even Analysis,

(4) Develop Your Applications and Apply in the Smartest Ways,

(5) Understand How Much Inventory to Bring,

(6) Set Up and Present Both Yourself and Your Wares,

(7) Best Promote and Operate Your Craft Show Business.

Table of Contents

What You Will Learn, p. 1

Intro to Book and Acknowledgements, p. 3

LESSON 1: Not Every Craft Show Is Alike, p. 13

LESSON 2: Research All Your Possibilities, p. 27

LESSON 3: Know Which Craft Shows Are For You, p. 31

LESSON 4: Set Realistic Goals / Determine Break-Even
                     Point, p. 39
LESSON 5: Get Those Applications In Early, p. 71

LESSON 6: Promote, Promote, Promote, p. 83

LESSON 7: Set Up For Success, p. 87

LESSON 8: Bring Enough Inventory To Sell, p. 121

LESSON 9: Sell Yourself And Your Craft At The Show,
                     p. 125

LESSON 10: Make A List Of Things To Bring, p. 141

LESSON 11: Be Prepared To Accept Credit Cards, p. 145

LESSON 12: Price Things To Sell, p. 147

LESSON 13: Keep Your Money Safe, p. 151

LESSON 14: Generate Follow-Up Sales, p. 163

LESSON 15: Take Care Of Yourself, p. 167

LESSON 16: Be Nice To Your Neighbors, p. 169

Some Final Words Of Advice, p. 173

Helpful Resources, p. 175

~~~~~~~

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

198pp, many images and diagrams
Ebook or Print

______________________________

_______________________________

Thank you. I hope you found this article useful.

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

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

Follow my articles on Medium.com.

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

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

Check out my Jewelry Making and Beadwork Kits.

Add your name to my email list.

_________________________________

Other Articles of Interest by Warren Feld:

Resiliency: Do You Have The Most Important Skill Designers Must Have?

Disciplinary Literacy and Fluency In Design

Backward Design is Forward Thinking

How Creatives Can Successfully Survive In Business

Part I: The First Essential Question Every Designer Should Be Able To Answer: Is What I do Craft, Art or Design?

Part 2: The Second Essential Question Every Designer Should Be Able To Answer: What Should I Create?

Part 3: The Third Essential Question Every Designer Should Be Able To Answer: What Materials (and Techniques) Work Best?

Part 4: The Fourth Essential Question Every Designer Should Be Able To Answer: How Do I Evoke A Resonant Response To My Work?

Part 5: The Firth Essential Question Every Designer Should Be Able To Answer: How Do I Know My Design Is Finished?

Doubt / Self-Doubt: 8 Pitfalls Designers Fall Into…And What To Do About Them

Part 1: Your Passion For Design: Is It Necessary To Have A Passion?

Part 2: Your Passion For Design: Do You Have To Be Passionate To Be Creative?

Part 3: Your Passion For Design: How Does Being Passionate Make You A Better Designer?

__________________________________

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

588pp, many images and diagrams Ebook or Print

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

184pp, many images and diagrams Ebook or Print

SO YOU WANT TO DO CRAFT SHOWS

16 Lessons I Learned Doing Craft Shows

198pp, many images and diagrams Ebook or Print

___________________________________________

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

Check out these new books by Warren Feld!

Posted by learntobead on April 26, 2022

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

588pp, many images and diagrams
Ebook or Print

You make jewelry. That is what you do.

But when you think jewelry and speak jewelry and work jewelry, this is what you have become. This is your purpose.

Becoming a Jewelry Designer is exciting. With each piece, you are challenged with this profound question: Why does some jewelry draw people’s attention, and others do not? When designers turn to how-to books or art theory texts, however, these do not uncover the necessary answers. They do not show you how to make trade-offs between beauty and function. Nor how to introduce your pieces publicly. You get insufficient practical guidance about knowing when your piece is finished and successful. In short, you do not learn about design. You do not learn the essentials about how to go beyond basic mechanics, anticipate the wearer’s understandings and desires, or gain management control over the process.

So You Want To Be A Jewelry Designer reinterprets how to apply techniques and modify art theories from the Jewelry Designer’s perspective. This very detailed book, by jewelry designer Warren S. Feld, reveals how to become literate and fluent in jewelry design.

Available here: Ebook or Print

TABLE OF CONTENTS

Acknowledgements, p. 7
An Introduction, p. 11


Section 1-JEWELRY BEYOND CRAFT, p. 19
1. Jewelry Beyond Craft, p. 21

Section 2-GETTING STARTED, p. 27
2a. Becoming the Bead Artist and Jewelry Designer, p. 29
2b. 5 Questions Every Jewelry Designer Should Have An Answer For,
p. 39
2c. Channeling Excitement, p. 51
2d. Developing Your Passion, p. 65
2e. Cultivating Practice, p. 79

Section 3-WHAT IS JEWELRY, p. 97
3. What Is Jewelry, Really?, p. 99

Section 4-MATERIALS, TECHNIQUES AND TECHNOLOGIES,
p. 113
4a. Materials — Knowing What To Know, p. 115
4b. Techniques and Technologies — Knowing What To Do, p. 143
4c. Mixed Media, Mixed Techniques, p. 175

Section 5-RULES OF COMPOSITION, CONSTRUCTION, AND
MANIPULATION
, p. 179
5a. Composition — Playing With Blocks Called Design Elements, p. 181
5b. The Jewelry Designer’s Approach To Color, p. 197
5c. Point Line Plane Shape Form Theme, p. 231
5d. Jewelry Design Principles: Composing, Constructing, Manipulating,
p. 253
5e. How To Design An Ugly Necklace — The Ultimate Challenge, p. 289
5f. Architectural Basics, p. 309

5g. Architectural Basics — Anatomy of a Necklace, p. 335
5h. Architectural Basics — Sizing, p. 343

Section 6-DESIGN MANAGEMENT, p. 349
6a. The Proficient Designer: The Path To Resonance, p. 351
6b. Jewelry Design: A Managed Process, p. 377
6c. Designing With Components, p. 387

Section 7-INTRODUCING YOUR DESIGNS PUBLICLY, p. 407
7a. Shared Understandings and Desires, p. 409
7b. Backward-Design Is Forwards Thinking, p. 437

Section 8-DEVELOPING THOSE INTUITIVE SKILLS WITHIN,
p. 445
8a. Creativity Isn’t Found, It’s Developed, p. 447
8b. Inspiration and Aspiration, p. 459
8c. Your Passion For Design, p. 467

Section 9-JEWELRY IN CONTEXT, p. 483
9a. Contemporary Jewelry Is Not A Look — It’s A Way Of Thinking, p. 485
9b. Contemporizing Traditional Jewelry, p. 499
9c Fashion Style Taste Art Design, p. 513
9d. Designing With The Brain In Mind: Perception, Cognition, Sexuality,
p. 523
9e. Self-Care, p. 535

Section 10-TEACHING DISCIPLINARY LITERACY, p. 543
10. Teaching Disciplinary Literacy In Jewelry Design, p. 545

Final Words of Advice, p. 579
Thank You, p. 581
About Warren Feld, p. 583
Other Articles and Tutorials, p. 587

________________________________________________________

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

184pp, many images and diagrams
Ebook or Print

In this very detailed book, with thoroughly-explained instructions and pictures, you are taught a non-traditional Pearl Knotting technique which is very easy for anyone to learn and do. Does not use special tools. Goes slowly step-by-step. Presents a simple way to tie knots and position the knots to securely abut the bead. Anticipates both appeal and functionality. Shows clearly how to attach your clasp and finish off your cords. And achieves that timeless, architectural perfection we want in our pearl knotted pieces.

Most traditional techniques are very frustrating. These can get overly complicated and awkward. They rely on tools for making and positioning the knots. When attempting to follow traditional techniques, people often find they cannot tie the knots, make good knots, get the knots close enough to the beads, nor centered between them. How to attach the piece to the clasp gets simplified or glossed over.

Fortunately, Pearl Knotting doesn’t need to be this hard.

Pearl Knotting…Warren’s Way teaches you how to:

· Hand-knot without tools

· Select stringing materials

· Begin and finish pieces by (1) attaching directly to the clasp, (2) using French wire bullion, (3), using clam shell bead tips, or, (4) making a continuous piece without a clasp

· Add cord

· Buy pearls, care for them, string and restring them, store them

By the end of this book, you will have mastered hand-knotting pearls.

I know you are eager to begin. Let’s get started.

Available here: Ebook or Print

Table of Contents

Intro To Book and Acknowledgements, p. 4

1. Pearl Knotting Is For You, p. 11

2. Materials-Tools-Your Workspace, p. 16

3. All About Pearls, p. 24

4. All About Hand-Knotting Pearls, p. 37

5. Design Considerations, p. 57

6. Measurements, p. 66

7. Selecting and Testing Bead Cord, p. 71

8a. Var1-Attaching Directly To Clasp, p. 76

8b. Var2-Using French Wire Bullion, p. 105

8c. Var3-Using Clam Shell Bead Tips, p. 125

8d. Var4-Continuous Without Clasp, p. 148

8e. About Adding Cord, p. 168

9. Handling Contingencies, p. 171

10. Finishing Touches, p.176

Final Words Of Advice, p. 177

About Warren Feld, p. 180

_______________________________

Thank you. I hope you found this chapter useful.

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

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

Follow my articles on Medium.com.

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

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

Check out my Jewelry Making and Beadwork Kits.

Add your name to my email list.

My ARTIST STATEMENT

My TEACHING STATEMENT.

My DESIGN PHILOSOPHY.

My PROFESSIONAL PROFILE.

My PORTFOLIO.

_________________________________

Posted in architecture, Art or Craft?, art theory, bead weaving, beads, beadwork, craft shows, creativity, design management, design theory, design thinking, jewelry collecting, jewelry design, jewelry making, pearl knotting, professional development, wire and metal, Workshops, Classes, Exhibits | Tagged: , , , , , , , | Leave a Comment »

SELF-CARE: Critical Advice For The Jewelry Designer

Posted by learntobead on January 28, 2022

Warren Feld

Warren FeldJust now·11 min read

Abstract
Balancing work and life is a challenge for everyone, but particularly for creatives. Designing pieces of jewelry involves a complicated process of finding inspiration and translating often-fuzzy images and ideas into aspirations and then finished designs. The designer usually creates each piece of jewelry over an extended period of time, often in solitude and isolation. Moreover, the designer, by the very nature of jewelry, must introduce their pieces to the public, opening the designer to feedback and critique. Balancing work and life can be very stressful, both mentally and physically. If in the business of selling jewelry, then there can be additional financial stresses. Suggested are a series of things the jewelry designer can do to manage the balancing act. These things have to do with acting, organizing, thinking, nourishing, and relating.

SELF-CARE

Finding Work-Life Balance

There is always one more thing to do. One more piece to make. One more component to buy. One more social media post. One more supplier to talk to. One more client to get. One more family’ or friend’s demands to deal with. It’s never-ending and can overwhelm you mentally, physically and financially. There is struggle. Slumps. Getting overwhelmed. Burn-out.

So the problems and resolutions depend on your ability to set boundaries. Limits on the use of your time. Allocations on the use your time. The places where you want to use any of your time. The people you want to interact with and share your time. Work-Life balance is never fully achieved; it’s a continual give and take. More a balancing, than a balance.

This requires a high degree of honesty with yourself. Some facing of the realities of limited resources. Some confronting of your fears to get them out of the way. Some feeding of your soul — your creative self.

We call this self-care. Self-care is a management strategy for managing the ever-present tensions between work and life. Everyone needs a plan and program of self-care for themselves. This can be very formal or informal. It means recognizing when the balance has tilted too far in one or the other direction. It requires a self-care tool box of strategies to employ to correct any imbalances. But you need that balance and a plan and program for maintaining it. You want joy from jewelry creation. You want productivity. You want people to want to wear your jewelry, perhaps buying it. Below I discuss some ideas that you might incorporate into your own self-care routines.

Because creatives love what they do, they may be especially vulnerable to putting in too many work hours. They may isolate themselves too freely or for too long. Yes, you might get a lot of projects finished, but you are also shortchanging yourself. It is not a positive thing to be unbalanced. You need enrichment. You need time to reflect and relax. You need to feel connected to others.

Self-Care Can Be Hard

Self-Care might feel like a long list of to-do’s. Eat. Take breaks. Phone calls, meetings and get-togethers. Time at the gym or salon. Adequate sleep. And so forth. This list might never get done to completion or satisfaction. It might feel burdensome. You might find yourself keep adding things to the list. This list, in and of itself, does not really resolved the tensions between work and life.

Knowing everything you need to do and should do is not the same as doing these. A more selective list where you can see the connections between your wellness and the activity will always make more sense.

Self-care takes work. It uses up time. It is one more thing to keep up with. Exerting effort can feel like a tall order — even when you know you will feel better after doing it. Again, a more realistic set of activities will be more manageable and effective.

For some people, taking time out for self-care generates a sense of guilt and shame. They feel they will be seen as avoiding work, instead of using self-care to enhance their work. Self-care should not be confused with an indulgence.

Handling Stress

One of the greatest challenges jewelry designers have is handling stress. There is the stress of finding inspiration. The stress of translating that inspiration into a concrete design. The stress of finding and selecting beads and other components, as well as colors, patterns and textures. The stress of placing mass within a negative space. The stress of construction. The stress of showing your jewelry to others. If you are selling your pieces, the added stresses of promotion, marketing, pricing and selling. You do not want all these stresses to add up to the point you become paralyzed — unable to start your project, finish your project or introduce it into the creative marketplace.

Stress can be both mental and physical. You need self-care for both.

Mental stress is often associated with doubt and self-doubt. 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. You begin to question how to measure your progress and success, perhaps unfairly comparing yourself to other jewelry designers. You begin to fear criticism and rejection, whether real or imagined. While sometimes doubt and self-doubt can be useful in forcing you to think about and question your choices, it mostly holds you back.

Mental stress can be associated with pain. It begins to build and amplify when you think that mental and/or physical pain means you no longer will be able to make jewelry, at least the designs you prefer to make. Put a stop to these thoughts. With tools, physical aids and ergonomic solutions, and a good self-care plan of operation, you will be able to continue to design and make any jewelry you want.

The creative process can result in our feeling vulnerable. Not everything is clear at first. More fuzzy. More experimental. The creative process is messy. Nonlinear. A lot of back and forth iteration. Eventually creative ideas coalesce within a completed piece of jewelry. But this creative process may extend for long periods of time. Living with vulnerabilities is part of any jewelry designer’s daily process. It is something to get used to. It makes having that good support system all that more important.

Making jewelry can take a physical toll on your body. Physical stresses begin as occasional pain, but eventually become major flare-ups. You might find yourself using your fingernails as tools, such as opening a split ring, or forcing a closure, or opening and closing a jump ring. After awhile, your fingernails start to split and crack and break. You might be do the same physical operation with your hands over and over again, slowing getting repetitive motion injuries, where your wrists hurt, the joints in your fingers hurt, your elbows hurt, your neck hurts. Your fingers may cramp up. You may be sitting in one position for a very long time, and over time, you begin to develop neck and back problems and knee problems and leg and foot problems. You may hate to wear your eyeglasses when you make jewelry. You forget the maxim: If you need glasses to read, you need glass to make jewelry.

The immediate solution to physical stresses is to stop making jewelry. Give yourself a rest. Take time off. I know you want to be making jewelry, but you need to listen to your body. It is telling you it needs some time for healing.

The long term solution is to rely on tools and ergonomic furnishings. Tools are an extension of your hands (and other parts of your body). They reduce the stress on your hands (and other parts of your body). Ergonomic designs reduce the stresses and strains placed on your body and channel the negative energy elsewhere. There are ergonomic chairs, arm rests, arm rest and pulley systems, and the like. Also be sure seating is comfortable and lighting is good.

When returning to jewelry making, pace yourself. Take breaks. Do finger, arm and leg stretching exercises. Wear braces to support the wrist, thumb and elbow.

Solutions and Resolutions

How You Act

Work-life balance is really a balancing act.

Look for places to pause your work.

Train yourself to be able to put down your work before it is completed without the stress of leaving it unfinished or undone.

Leave the house. Change locations. Take a walk or a drive. Take the day off.

Take time off to relax and disconnect.

How You Organize

Good organization leads to more efficiency and effectiveness and better work-life balance.

Designate one area of your house for your creative work, a different area for business work, and yet another area for thinking, meditating, reflecting and relaxing.

Schedule sufficient times for creativity, times for business, and times for reflection.

Keep your work area neat and generally organized, but not necessarily perfectly organized. Remember: Perfection is the enemy of the Good.

Budget for things to go wrong. Don’t put yourself on such a tight financial rope that any mistake or any supply issue or other business related issue creates panic.

Plan for enough time in your schedule to acquire materials and supplies, learn a new technique if necessary, and communicate and work with clients, if this is part of your practice.

Keep your website (and other promotional venues) up-to-date.

How You Think

Applying your creativity and finding work-life balance are actually sets of thinking routines where you explore choices, narrow them down, and make selections.

Remember that creativity involves more than staying seated in front of beads and other jewelry components in your work space. Creativity also involves looking for inspirations. It involves thinking through all the options for translating those inspirations into aspirations and then into specific design.

Recognize that taking time away from work for self-care is a positive reflection on you. It is not something to hide or be ashamed of.

It is not hard to set yourself up for failure. Set your expectations that are reasonable and realistic for you.

Set attainable goals and objectives. Revisit these often as you work on any project.

Remind yourself periodically why you like to create and make jewelry.

Make sure you have something to get excited about — an activity or event, a book or movie, an exploration about jewelry design, exercising, yoga, whatever.

How You Nourish Mind and Body

A healthy mind and body will keep your creative juices flowing and make that work-life balance easier to maintain.

Don’t skip meals or avoid satisfying any hungry feelings when they occur.

Hydrate often.

It is difficult to make good jewelry design choices when you are tired. Be aware of times when you are overextended.

Exercise. Take frequent breaks to move around a bit.

Do some focused breathing exercises.

Meditate.

Go somewhere where you can let out your primal scream.

Take a nap.

Do something out of the ordinary for you. Make jewelry using your non-dominant hand. Stick your hands into a bowl of mud.

How You Relate

Most jewelry is created in solitude. Feelings of isolation may build up. If not careful, this can negatively affect your work-life balance.

Surround yourself with people who inspire you. Avoid people who are negative and toxic. Don’t isolate yourself for too long a period.

Spend time with real friends. Build up and maintain a supportive social network.

Don’t compare yourself and compete with others. Keep the focus on yourself.

Talk things out. With others as sounding boards and informers, help each other see what matters and what does not.

Attach yourself to a group, say an online jewelry making group, or a local artist community group. But don’t take up residence there. Moderation, moderation.

Detach yourself from the online world for awhile, if you are spending too much time living there.

Don’t take criticisms personally.

If in business, evaluate your pricing, selling and marketing strategies. Is the price you are getting for your jewelry reflective of your worth as a designer? Are your target markets in line with the styles and prices of your pieces?

If in business, keep your clients aware of your progress.

Turn some of your projects into collaborations.

Attend classes and workshops.

Enter juried exhibitions and competitions.

Take part in group art critiques.

_________________________

FOOTNOTES

Alexis, Renee. 7 Self-Care Tips For Artists and Creatives. Your Art Path, May 2021. As referenced in:
https://yourartpath.com/7-self-care-tips-for-artists-and-creatives

Artwork Archive. 7 Counterintuitive Self Care Habit For Artists. As reference in:
https://www.artworkarchive.com/blog/7-counterintuitive-self-care-habits-for-artists

Branch, Allan and Steven Bristol. Chapter 16, Entrepreneur-Work Life Balance. Business Guide: Run Your Business, Don’t Let Your Business Run You. LessEverything, 2018. As referenced in:
http://lesseverything.com/business-advice/entrepreneur-work-life-balance/

Clark, Alicia H., Psy.D. Why Does Self-Care Sometimes Feel So Hard? These 6 common pitfalls could be holding you back. 2/15/20. As referenced in:
https://www.psychologytoday.com/us/blog/hack-your-anxiety/202002/why-does-self-care-sometimes-feel-so-hard

Feld, Warren. Doubt / Self-Doubt: 8 Major Pitfalls For Designers…And What To Do About Them. 9/5/2020. As referenced in:
https://medium.com/design-warp/doubt-self-doubt-8-major-pitfalls-for-designers-and-what-to-do-about-them-fbbf1bec18de

Hammond, Lee. Artists and Self-Esteem: 4 Tips To Overcome Insecurity. Artists Network, n.d. As referenced in:
https://www.artistsnetwork.com/art-inspiration/art-self-esteem/

Horejs, Jason. Working Alone | Breaking the Isolation that Can Surround the Pursuit of Art. Xanadu Gallery, 9/2/21. As referenced in:
https://reddotblog.com/working-alone-breaking-the-isolation-that-can-surround-the-pursuit-of-art-21/#comments

Mayher, Miguel, Director of Education, Professional Artist Institute. How To Handle Stress.

Mindful Art Studio. Overcoming Creativity Block. What Is Creative Self-Care? June, 2016. As referenced in:
https://mindfulartstudio.com/what-is-creative-self-care/

Tartakovski, Margarita, MS. 10 Ways to Overcome Creativity’s №1 Crusher. Psychcentral.com, 3/3/2013. As referenced in:
https://psychcentral.com/blog/10-ways-to-overcome-creativitys-no-1-crusher#1

_______________________________

Thank you. I hope you found this chapter useful.

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

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

Follow my articles on Medium.com.

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

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

Check out my Jewelry Making and Beadwork Kits.

Add your name to my email list.

My ARTIST STATEMENT

My TEACHING STATEMENT.

My DESIGN PHILOSOPHY.

My PROFESSIONAL PROFILE.

My PORTFOLIO.

_________________________________

Other Articles of Interest by Warren Feld:

Resiliency: Do You Have The Most Important Skill Designers Must Have?

Disciplinary Literacy and Fluency In Design

Backward Design is Forward Thinking

How Creatives Can Successfully Survive In Business

Part I: The First Essential Question Every Designer Should Be Able To Answer: Is What I do Craft, Art or Design?

Part 2: The Second Essential Question Every Designer Should Be Able To Answer: What Should I Create?

Part 3: The Third Essential Question Every Designer Should Be Able To Answer: What Materials (and Techniques) Work Best?

Part 4: The Fourth Essential Question Every Designer Should Be Able To Answer: How Do I Evoke A Resonant Response To My Work?

Part 5: The Firth Essential Question Every Designer Should Be Able To Answer: How Do I Know My Design Is Finished?

Doubt / Self-Doubt: 8 Pitfalls Designers Fall Into…And What To Do About Them

Part 1: Your Passion For Design: Is It Necessary To Have A Passion?

Part 2: Your Passion For Design: Do You Have To Be Passionate To Be Creative?

Part 3: Your Passion For Design: How Does Being Passionate Make You A Better Designer?

Posted in Art or Craft?, bead weaving, beadwork, business of craft, craft shows, creativity, design management, design thinking, jewelry collecting, jewelry design, jewelry making, Learn To Bead, professional development, Stitch 'n Bitch, wire and metal | Tagged: , , | Leave a Comment »

BASICS OF BEAD STRINGING AND ATTACHING CLASPS:How To Make The Smartest Design ChoicesWhen Stringing Beads

Posted by learntobead on December 1, 2021

Video Tutorial Series by Warren Feld

PREVIEW (Click Here)

I am so excited to share my online video tutorial with you!

USE THIS COUPON CODE FOR 25% DISCOUNT:   25PERCENTOFF

Learning bead stringing is more than putting beads on a string and tying on a clasp.

Successful designers need to bring a lot of knowledge to bear, when creating a successful piece of jewelry — one which is appealing, functional, satisfying to the client, and durable.

Jewelry designers need to become skilled at making tradeoffs between beauty and functionality, and designer intent and client desire, Jewelry you make needs to be appealing, comfortable, move with the person as the person moves, and be appropriate for the situation or context.

Jewelry designers have to know some things about:

  • Materials
  • Techniques
  • Some architecture and physical mechanics
  • Some sociology and anthropology and psychology
  • Even some things about party planning

In my explanations about bead stringing and the various stringing techniques in how jewelry is made, I reference all these things. It is important that you have more insights and understandings about bead stringing and jewelry design. 

This series of video tutorials takes a comprehensive look at the things you need to know to string beads and make jewelry.

In this video tutorial series, I go into depth about:

  • Choosing stringing materials, and the pros and cons of each type
  • Choosing clasps, and the pros and cons of different clasps
  • All about the different jewelry findings and how you use them
  • Architectural considerations and how to build these into your pieces

On our bead stringing journey, I teach you several different bead stringing techniques. In particular, you will learn:

  • How better designers use cable wires and crimp
  • How designers use needle and thread to string beads
  • How best to make stretchy bracelets
  • How to make adjustable slip knots, coiled wire loops, and silk wraps
  • How to finish off the ends of thicker cords or ropes, so that you can attach a clasp
  • How to construct such projects as eyeglass leashes, mask chains, lariats, multi-strand pieces, twist multi-strand pieces, and memory wire pieces.

https://so-you-want-to-be-a-jewelry-designer.teachable.com/courses/basics-of-bead-stringing-and-attaching-clasps/lectures/27541444

PREVIEW (Click Here)

USE THIS COUPON CODE FOR 25% DISCOUNT:   25PERCENTOFF

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

Finding A Job Which Utilizes Your Jewelry Making Experience: Some Expected and Some Unexpected Possibilities

Posted by learntobead on July 18, 2021

Warren Feld

Warren FeldJust now·9 min read

Finding A Job Which Utilizes Your Jewelry Making Experience

There are actually many career pathways for people who have backgrounds in jewelry making and bead working. Besides the obvious pathways of making jewelry to sell, or teaching jewelry making, there are still many job and career opportunities for you.

You may have to do a little more leg work, and a little more tree-shaking. Don’t assume, however, when the linear pathway is blocked, that all pathways are blocked. They are not.

Some types of jobs/careers which might use your talents….

There are a lot of private companies, nonprofit agencies, government agencies, and foundations and philanthropic agencies that work with disadvantaged groups, and need people to provide technical assistance to these groups. These groups might be inner city. They might be rural. They might be overseas.

Very often, projects these businesses and organizations work on have a craft-angle to them. They may need people to teach crafts, to teach people to transfer their craft skills into marketable skills, or to assist people in applying for loans to start up businesses, usually small loans and usually things associated with selling crafts.

Banks

Banks have found it profitable to make “micro-loans”. These loans are very small amounts, and usually given to women in developing countries, to help them leverage their skills — often craft skills — to make a business out of them. Banks need personnel to

o Develop loan forms, documentation and procedures

o Find opportunities for making these loans

o Working with people to teach them how to apply for these loans

o Working with people to teach them how to be more accountable with loan moneys

o Working with people to teach them how to translate their craft skills into marketable skills (called transfer of technology). Often this means helping them find resources to get materials, make choices about materials and what would be most cost-effective, and how to market their products

o Working with people to find markets for, and otherwise promote, their products

o Helping people form cooperatives so that they can buy materials more cheaply, and sell and market their products cooperatively

Government and International Agencies

Government and International Agencies need people to….

o Determine where — what communities, what demographics — they can most likely leverage local talents to better people’s lives. Crafts, particularly beading and jewelry making, provide very useful talents around which to leverage

o Evaluate local technologies — and these include all craft technologies — in terms of readiness and/or capability for cost-effective technology transfer

o Do some community organizing to make local people aware of governmental assistance (or other assistance), and to help them complete applications for this assistance

o Evaluate these kinds of programs to determine success, and make recommendations about how to increase these successes

o Document craft technologies, particularly among native, tribal, or isolated groups that are in danger of becoming extinct

o Similarly, to create ways to preserve craft technologies which are in danger of becoming extinct, or which became extinct a long time ago, and which be restored. A good example is how South Korea restored the art of celadon pottery making, or China’s work at preserving Yixing Tea Pot making.

Military

Military Agencies do similar things as governmental ones, except from a slightly different perspective. They want to know, in an anthropological sense, how people value different local technologies — including craft technologies –, and which ones can military and related civilian advisors assist the locals with, to improve their economy and security.

Philanthropy

Philanthropic Foundations have many missions. One mission is to improve and secure the health, welfare, and social economy of particular areas or population groups. Crafts are one way of accomplishing this, particularly if working with disadvantaged populations or areas.

Crafts are things people do all the time, that are attractive as products (and services if you are teaching), improve the quality of life, and form the roots of good businesses — especially start-ups.

Another mission of Philanthropic organizations is to pre-test different strategies for social and economic development. Again crafts, and beads especially, can form the basis of many strategies for business development, empowerment of minorities and women, assistance for the elderly, technology transfer, and the like.

Philanthropic organizations need people who can…

o Develop grants, rules and applications

o Find community organizations to apply for these grants

o Evaluate the success of grants

o Work with academics and consultant experts to generate experimental ideas to be tested through grants

o Work with local, state and national government agencies to find cost-sharing ways of testing out these “ideas”

o In similar way, find and negotiate public-private partnerships towards this end

Information Technology and Website Development

Information technology and website development companies, with Google a prime example, are in the business of translating reality into tables of data that can easily be accessed and assessed. These types of companies need people who can

o Translate craft terms and activities into categories for which data can be consistently collected, organized, stored and analyzed

o Work with museums and galleries which buy, own, exhibit, store or display crafts, to develop ways to collect and categorize routine data on these collections and their importance to different types of people and groups

o Sell the use of these craft-specific databases to companies or individuals that will use them

o Work with craft magazines, museums, schools, galleries and the like to help standardize some of the terminologies and valuations associated with various crafts, to make it easier to collect and sort data about them

o Assist craft artists in development of websites

o Assist craft artists in marketing their websites, especially through social media sites

o Develop blogs

o Develop advertising and marketing materials

o Develop packaging and branding materials

o Digitize images of craft items

Museums, Galleries and Libraries

Museums, Galleries and Libraries employ craft artists to…

o Catalog and digitize collections

o Document quality of items

o Restore aged or otherwise damaged pieces

o Write brochures and promotional materials

o Organize exhibits

o Raise funds for exhibits

o Advocate for funds among government agencies and philanthropic groups

o Organize a “crafts” section where none has existed before

o Promote fine crafts

o Organize a craft show to raise money and/or awareness

Many museums, galleries and libraries have tons of things in storage that have only loosely been documented, and need much more documentation and organization.

Non-Profit Groups, Agencies and Institutions

Non-Profit Groups employ all kinds of people with all kinds of backgrounds. They always need help with many fund-raising or program-targeting things. Your craft knowledge can play a very useful role here.

For example, take your local breast cancer society. Think of all the kinds of craft-type things you can make, and for which they can sell, to raise money. You could organize a craft brain trust among your friends, and turn out item after item with breast cancer awareness themes and colors. Or you could scour the internet for breast cancer awareness craft items, and make them work for you. And you could repeat this success for many other local nonprofit groups.

One of my friends went to the Atlanta Gift Show, and identified vendors that had products that could easily be adapted for breast cancer awareness. She worked out with each one what the minimum orders would be, how much lead time would be needed between placing an order and receiving the merchandise, and price. Then she went to local breast cancer groups and presented them with the options. She added 15% to the prices as her commission. These organizations fund raise all the time, and are in major need of new things to sell and promote. My friend had to lay out very little money — basically the cost of a trip to Atlanta, some phone calls and paperwork — and generated a very lucrative business for herself.

I remember spending some time in Sloan Kettering Memorial Hospital in New York City. This hospital specializes in cancer treatment. I was observing patient activities. One of these activities involved volunteers pushing a cart around with various craft activities for patients to do.

Most of the patients in the rooms in the Ward I was on could barely move their bodies, arms and hands. They were very medicated, and had many needles and IV’s stuck into them during their stay. All the craft projects on these carts required considerable manual dexterity — knitting, beading with seed beads, crocheting. The volunteers would cheerily come into the room, announce themselves, and ask if the patient wanted any of these fun crafts to do. The patients would shake their heads No, and grunt. The patients could barely move. And the volunteers left the room, unconcerned.

I took a trip to FAO Schwartz — the toy store — and came back with sets of interlocking building blocks. The blocks were made from different colors of plastic. They were different shapes. A patient could easily hold one or two pieces in their hands without requiring much manual dexterity. The pieces fit together easily by interlocking two pieces, where a slot had been cut out in each. These were a big hit on the Ward. They allowed creativity, without much manual dexterity. The pieces were large enough, that the patient could manipulate them with their hands, and not worry about losing any, if they dropped to the floor.

In hospitals and health care settings, I’ve helped create programs to assist occupational therapists with improving manual dexterity with the elderly, therapists with improving attention spans with children, conducting memory agility tests with patients, and many more programs, utilizing crafts materials and technics.

There are plenty of social and community problems to solve, many different kinds of businesses and organizations responsible for solving these problems, and many solutions which require crafts — materials or technologies which are workable, do-able, saleable, and implementable. There most likely won’t be advertised positions for these kinds of things. But you would be surprised how easy it can be to create your own job opportunities and ones which utilize your craft experiences and knowledge.

When Approaching These Potential Employers and Consultants, Be Sure To…

1. Be able to clearly define how your craft knowledge/experience can help your prospective employer solve some of her/his (NOT YOUR) problematic situations.

2. Research prospective employers, their websites and marketing materials. Identify the key words and buzz words in their materials. Be sure to include these in your written and oral presentations to them.

3. Approach the prospective employer by phone or in person first. Then follow-up with a resume and cover letter. Don’t assume that, because you can make the intellectual link between job and solution, that the employer will see this link when reading a resume. You’ll probably have to educate the employer a bit. This really doesn’t take much effort.

4. Cite examples of what kinds of things you can do. If you can identify other programs or individuals with success stories, do so.

5. If you make your “job search” also a “mission to educate people about crafts”, you’ll be surprised how much energy and excitement you bring to the job interview situation.

_______________________________

Thank you. I hope you found this article useful.

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

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

Check out my Jewelry Making and Beadwork KITS.

Add your name to my email list.

_____________________

Other Articles of Interest by Warren Feld:

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

What Is Jewelry, Really?

The Jewelry Design Philosophy

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

Disciplinary Literacy and Fluency In Design

Becoming The Bead Artist and Jewelry Designer

5 Essential Questions Every Jewelry Designer Should Have An Answer For

Getting Started / Channeling Your Excitement

Getting Started / Developing Your Passion

Getting Started / Cultivating Your Practice

Becoming One With What Inspires You

Architectural Basics of Jewelry Design

Doubt / Self Doubt: Major Pitfalls For The Jewelry Designer

Techniques and Technologies: Knowing What To Do

Jewelry, Sex and Sexuality

Jewelry Making Materials: Knowing What To Do

Teaching Discplinary Literacy: Strategic Thinking In Jewelry Design

The Jewelry Designer’s Approach To Color

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

The Jewelry Designer’s Path To Resonance

Jewelry Design Principles: Composing, Constructing, Manipulating

Jewelry Design Composition: Playing With Building Blocks Called Design Elements

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

Posted in Art or Craft?, bead weaving, beads, beadwork, business of craft, craft shows, creativity, jewelry design, jewelry making, Learn To Bead, professional development, wire and metal | Tagged: , , , | Leave a Comment »

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

Posted by learntobead on July 14, 2021

Canyon Sunrise, Necklace by Warren Feld, 2008

One of the most difficult things I have to do as a designer is say Good-Bye! to my pieces. I make something. I put it out there for sale. Someone buys it. I will probably never see it again. Yes, I can make another one, but that’s not the same thing. That’s not the point.

I submitted the necklace piece pictured above to a Swarovski Create Your Style Contest in 2008. The theme was be naturally inspired. My inspiration was this sunrise image of the Grand Canyon.

Grand Canyon at sunrise

I was selected as a Finalist. I was invited to their offices in New York City to attend the awards ceremony. I was so excited.

I had poured my all into this piece. Hours upon hours upon hours perfecting the stitching. Experimenting with using the stitching in a 3-dimensional way. Creating a curvature along the upper sides where normally it would be a sharp edge. Selecting a 5-color scheme and figuring out how to create sharper boundaries between colors when using Swarovski crystal beads. Varying the shape, size and type of beads used within the stitch. Designing a clasp assembly which I hoped looked like a mirror of the rising sun. None of these were easy tasks. Because the fully completed piece took about 100 hours to do and contained over $1500 worth of parts, I did all this experimentation and trial and error using 3″ long samples.

I had to send off my piece to New York prior to the ceremony. And from there, my piece would be flown to Innsbruck, Austria to reside in their Swarovski Museum.

I was proud. Got the big head and paraded it around. Shared my news widely, of course.

But when the day came to pack my piece up, … not a good day.

This day actually dragged on for a week.

First, I started with one jewelry box to place the piece in. Not satisfied. So another box. Not satisfied. And another box. Still not satisfied. I combed my jewelry packaging catalogs, and found 3 more choices I thought would work. I ordered these and had them shipped overnight.

Success. One of the three was perfect.

Next, I had to put this jewelry box into a larger shipping box. Easy to find a box. But my stupid brain could not come to grips with how I wanted to place the jewelry box into the shipping box. How much filler would I need? What type — paper, styrofoam, bubble wrap. Normally, I do not have difficulty making these kinds of choices. But not this time.

I would line the shipping box, sit the jewelry box in one direction, then stop. I would remove the jewelry box, change how I lined the shipping box, replace the jewelry box in another direction, then stop. I would remove the jewelry box, again decide differently how it was to lay in the shipping box, then try to line the box, cover the jewelry box, add some paper work, and seal the shipping box. Plastic tape or paper tape? Another delay while I decided.

I did not want to let go of my beautifully designed piece of jewelry. I let my next choice create a particularly high barrier. Which shipper?

The postal service was less expensive, but less reliable.

UPS was very expensive, more reliable, but what if they weren’t? It was going to New York City. How does any shipper reliability ship to New York City?

FedEx? Maybe, but I was not familiar enough with them.

Insure the package? For how much?

Certified? Signature required?

I struggled considerably over each choice. And I never struggle over these kinds of choices.

Well, at this point, my piece was in its jewelry box. My jewelry box was in its shipping box. My shipping box was sealed. I took my jewelry cum jewelry box cum sealed shipping box to UPS. The clerk had to pull it out of my hand.

And there it went.

Good-bye!

Don’t worry, it arrived safely.

I traveled to New York City for the ceremony. There was champagne and hor d’oeuvres. There were the other finalists mostly from America, but from other parts of the world, as well. There was even the Brazilian consulate general there to represent an artist from Brazil. We were all packed in the very, very bright and sparkly offices of Swarovski.

There was my piece. My Canyon Sunrise. Sitting pretty among the other pieces. Reassuring it was still there. It was in good company. I enjoyed listening to the comments of people as they admired it. I learned a lot from speaking and sharing with the other jewelry designers.

Canyon Sunrise won 4th place.

And, I had a chance to say Good-bye! one more time.

When I returned home, I immediately went to work on recreating my piece, but this time with another challenge. I took the same 5 colors I used in the original piece, and shifted the proportions around. I did not add a pendant drop in the center, nor did I recreate the elaborate clasp assembly in the back. But I had a physical piece — a cousin — to put on display with my other jewelry pieces. I could show people more than a photograph of the original piece. This was very satisfying. I was ready to move on to other projects.

Canyon Twilight, necklace by Warren Feld, 2008

Relinquishing Your Jewelry Design To Others: A Rite of Passage

One of the most emotionally difficult things designers do is saying Good-bye! to their designs as they hand them over to their client or otherwise expose their work publicly. The designer has contributed so much thinking and has spent so much time (and sometimes so much money) to the project that it is like ripping away an integral part of your being.

This is the moment where you want to maintain the conversation and engage with your audience, but look at this from a different perspective. Your relationship with your design is evolving and you need to evolve with it. Its innate intimacy is shifting away from you and getting taken over by someone else.

But you still have needs here. You want that client to ask you to design something else for them. You want the client to share your design with others, expanding your audience, your potential clients, your validation and legitimacy as a designer. And you want to prepare yourself emotionally to take on the next project.

Relinquishing control over your design is a rite of passage. At the heart of this rite of passage are shared understandings and how they must shift in content and perspective. Rites of passage are ceremonies of sorts. Marking the passage from one status to another. There are three stages:

(1) Separation

You pass your design to others. You become an orphan. You have made a sacrifice and want something emotionally powerful and equal to happen to you in return. Things feel incomplete or missing. There is a void wanting to be fulfilled. You realize you are no longer sure about and confident in the shared understandings under which you had been operating .

(2) Transition (a betwixt and between)

There is a separation, a journey, a sacrifice. The designer is somewhat removed from the object or project, but not fully. The shared understandings constructed around the original project become fuzzy. Something to be questioned. Wondering whether to hold on to them or let go. Pondering what to do next. Playing out in your head different variations in or changes to these shared understandings. Attempting to assess the implications and consequences for any change.

These original shared understandings must undergo some type of symbolic ritual death if the designer is to move on. Leverage the experience. Start again. As simple as putting all the project papers in a box to be filed away. Or having a launch party. Or deleting files and images on a computer. Or accepting payment. Or getting a compliment. Or having a closure-meeting with the client to review the process after it has been completed.

(3) Reincorporation

The designer redefines him- or her-self vis-à-vis the designed object or project. The designer acquires new knowledge and new shared understandings. There is some reaffirmation. Triumph. This usually involves a new resolve, confidence and strategy for starting new projects, attracting new clients, and seeking wider acceptance of that designer’s skills and fluency in design.

The designer has passed through the rite of passage. The jewelry or other designed object or project has been relinquished. The designer is ready to start again.

But as a designer, you will always be managing shared understandings. These most likely will have shifted or changed after the design is gone. And new ones will have to be constructed as you take on new assignments.

_______________________________

Thank you. I hope you found this article useful.

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

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

Check out my Jewelry Making and Beadwork KITS.

Add your name to my email list.

_____________________

Other Articles of Interest by Warren Feld:

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

What Is Jewelry, Really?

The Jewelry Design Philosophy

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

Disciplinary Literacy and Fluency In Design

Becoming The Bead Artist and Jewelry Designer

5 Essential Questions Every Jewelry Designer Should Have An Answer For

Getting Started / Channeling Your Excitement

Getting Started / Developing Your Passion

Getting Started / Cultivating Your Practice

Becoming One With What Inspires You

Architectural Basics of Jewelry Design

Doubt / Self Doubt: Major Pitfalls For The Jewelry Designer

Techniques and Technologies: Knowing What To Do

Jewelry, Sex and Sexuality

Jewelry Making Materials: Knowing What To Do

Teaching Discplinary Literacy: Strategic Thinking In Jewelry Design

The Jewelry Designer’s Approach To Color

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

The Jewelry Designer’s Path To Resonance

Jewelry Design Principles: Composing, Constructing, Manipulating

Jewelry Design Composition: Playing With Building Blocks Called Design Elements

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

Posted in Art or Craft?, art theory, bead weaving, beads, beadwork, business of craft, color, craft shows, creativity, design management, design theory, design thinking, jewelry design, jewelry making, Learn To Bead, professional development, Stitch 'n Bitch, wire and metal | Tagged: , , , | Leave a Comment »

FINANCIAL MANAGEMENT:How Am I Going To Control The Flow Of Money In My Jewelry Design Business?

Posted by learntobead on June 10, 2021

Abstract:

Financial management includes all the things you need to do in order to determine your Return On Investment (ROI).   It mostly involves a system of data collection, monitoring and analysis methods employed by any successful business.   This system relates risks to rewards.    Activities in this kind of system include things such as general accounting and bookkeeping, inventory management, and record keeping.    These include things you do to establish and maintain formal relationships with employees, independent contractors and suppliers.    These include things you do to secure your money, such as with banks, financial institutions, and even such things as crowd-funding online.     This is a lot of numbers and activities, and often, when we look at why people fail in business, it is often because of a generalized fear of getting in control of all this.   Successful business people and successful businesses need to foster a culture which promotes a growth mindset.    Simply this is a culture where you have permission and encouragement and confidence to take risks.    

A Focus On Your Return On Investment (ROI)

You put a lot of time, effort and resources into designing pieces of jewelry and building up your business.    This all has a cost to you in time, money, and even relationships.    You want a Return On Investment (ROI).    You want to see some benefits that exceed your costs.   Joy, happiness, contentment, money, security, less stress, more opportunities and more challenging opportunities to be creative, more fulfilling relationships.  

When you take your creative endeavors and turn them into a business, the core focus primarily rests on increasing your returns on investments (ROI’s) through smartly and strategically managing your finances.   You want to set into place various management structures and routine data collection procedures to assist you in managing risk and maximizing rewards.   You want to minimize the effects of uncertainty on your business.

Sometimes, creative people think that some people are born to take risks, manage them and live with them, and others are not.   This is not true.    Having a business sense is not something innate or genetic.   It’s something that is learned over time, often with a lot of trial and error, many failures, but key successes, as well.   There is no reason, if this is something you want to do, to shy away from thinking about or attempting to monetize your jewelry as a business.  

Towards this end, you want to get a good handle on such things as:

  1. Understanding risk and reward
  2. Tracking your costs and revenues
  3. Tracking your inventory
  4. Other record keeping
  5. Employees and Independent Contractors
  6. Banking, Insurance and Credit Card Processing
  7. Getting Terms
  8. Getting Paid
  9. Crowd-funding
  10. Fostering a Growth Mind-set


a) ROI: Understanding Risk and Reward

It is important to understand risk and reward, and how to manage these.    Part of managing these is putting into place systems which collect necessary data – primarily about costs and revenues – and evaluating the data and its desired impact on everything you are trying to achieve in your business.  Anyone can do this.   But jewelry designers who foster a growth mind-set are often better at managing risk and reward.

What Is Risk and What Is Reward

Risks and rewards are gambles.   They are probabilities.   Chances.    They help define the likelihood for determining whether what happens next will hurt you or help you.

Risk is the likelihood that you will lose either or both tangible rewards (money) and intangible rewards (success, happiness).    

Rewards are the profits, again tangible (money) or intangible (success, happiness), you receive from taking risks.   

Usually, the greater the risks you take, the greater the rewards earned.  But this is not a guarantee.    Losses can occur, usually resulting from the failures to properly manage the relationship between risks and rewards.

Risk management is important in every business because without it, that business cannot clarify what goals it needs to set, and what steps it needs to take towards meeting those goals.   There are more things to do on a day-to-day basis than you could possibly do and get done.    Risk management helps you narrow down the tasks to those most likely to have the greatest rewards. 

Risks and Rewards must be managed in a deliberate, rational, and day-by-day way.   Routinely.   With fore-thought and organization.    This means collecting data.   This means analyzing data.    This means closely looking at risk and evaluating whether it makes sense, or not, to continue doing what you are doing, or what you want to be doing.    Is it sufficiently rewarding or profitable?    What is the opportunity cost?   That is, you could be expending the same amount of resources (time, motivation, money) doing something else that might have a greater return.

Any business is fraught with risk.   If it were easy to start a business, everyone would do it.    But it is not.    Again, it requires routinely collecting and evaluating data.     It takes you out of that creative mode and way of thinking, and plops you down into a very different administrative one.    In order to sell a piece of jewelry, you have to begin to deal with things like marketing and promotion, production, distribution, inventory management, investments in tools, parts, displays and equipment.   You need to closely track all your costs and all your revenues.    It means taking chances you might lose money or fail.   This is scary.   

When managing risks, it is important to remember:

  1. Don’t confuse Risk with Fear.    Fear keeps you from doing things.   Risk aids you in asserting some control over uncertainty.
  2. Simply be aware that both Risks and Rewards exist.     Where there are greater rewards, there are usually also greater risks.
  3. Yes, risks are risky, but should not be reckless.
  4. Make decisions based on the relationship of risks to rewards.   It is not the number of pieces of jewelry you make.   Rather it is the average return you get from each piece of jewelry you make, given the costs and investments you made in order to finish that piece of jewelry and sell it.   This type of information will clue you into such things as what might happen if you too aggressively seek rewards, or too timidly accept risks.
  5. Don’t put all your eggs in one basket.  Diversify the types of jewelry you make, designs you do, parts you use, markets you seek to exploit.
  6. Keep things simple.   There is a lot of data, systems and subsystems of information to manage.   Things which help keep things simple:  
  7. standardization of forms, collection procedures, the ways data are organized
  8. use of summary indicators like totals, averages, means, mediums, rates, trends
  9. routines developed for procedures and administration

How Do You Measure Risk and Reward

As a jewelry designer, you will be measuring risks and rewards in a few different ways.

  1. Measuring Risk and Reward: General accounting
  2. Measuring Risk and Reward: Financial Management
  3. Measuring Risk and Reward: Inventory Management
  4. Measuring Risk and Reward: Pricing
  5. Measuring Risk and Reward: Impression Management

1) Measuring Risk and Reward: General Accounting

You will set up a General Ledger (G/L) to track your revenues and expenses, and liabilities and assets.    This is like setting up a giant table or spreadsheet.    You enter every piece of information into this table or spreadsheet that represents some kind of expenditure to you or some kind of revenue received.     Below I go into more detail about setting up a General Ledger.

2) Measuring Risk and Reward: Financial Management

Here you try to reduce things you do to a series of rates and trend-lines.     It is NOT the number or dollar amounts of your sales.   Instead, it is your rate of sales.   Your rates of inventory reduction and replenishment.     Your accumulated debt to earnings.    Breakeven analysis.   Trends in gross profit and net profit.

For some rates, management means maintaining a constant velocity or turn in the rate.     For example, if you need to sell a minimum of 6 pieces of jewelry each week to breakeven, are you able to maintain at least this rate every week in the year?   If not, for those times in the year where the velocity of this rate might slow down, what else can you do instead to maintain your business at least at the breakeven point?   

For other rates, management means maintaining an upward trend or trajectory, even though some weeks the data may decline.    Especially when you first get started in business, your gross profit and net profit might be low or even negative numbers.    The trend line is more important than the specific monthly numbers.

Leverage.  A related concept in financial management is leverage.  This is the degree you leverage someone else’s money to make money for yourself.    You might be paying for some of your inventory, equipment, furnishings or other business expenses using a credit card or relying on a bank loan or leasing where you do not have to front all the costs all at once.    You might be listing your jewelry on someone else’s website or marketplace where they are paying internet and website maintenance costs.     You might be co-marketing your jewelry with someone else who sells a product which can be integrated with yours where you thus are sharing the costs.   You might be buying inventory on terms, say NET 30, where you do not have to pay for the inventory for 30 days.   You might maintain bare minimums of inventory items, where you depend on your suppliers to provide just-in-time shipments, thus having your suppliers foot the bill for a lot of storage costs.

In each case, someone else has made investments in things that either you do not have to, or you do not have to all at once.     Sometimes, you pay for some of these over time.   Othertimes, the synergistic effects create payments for all parties above and beyond what each could do on their own.     All of this is called leverage.    

We have to monitor leverage, as well, to be sure the rewards we get do not exceed the risk we undertake to get those rewards.   

3) Measuring Risk and Reward: Inventory Management

There are three important things to understand about inventory up front:

  1. Inventory is a placeholder for money.     You paid for your inventory, and you get that money back when you sell it.
  2. As a jewelry maker and designer, you will have a bi-furcated inventory, a) an inventory of finished pieces ready for sale, and b) an inventory of parts and pieces of jewelry not ready for sale.
  3. An inventory of digitized files and applications.

Holding inventory ties up a lot of money.    This money is in the form of parts, perhaps restricting and constricting you in what colors, styles, materials, components and the like you will be able to use when designing a piece of jewelry.    Too much or too little of inventory – or the right inventory for the moment – can break your business.

This all means that inventory is something that needs to be monitored and managed.   Your goal is to minimize the cost of holding inventory.     This involves figuring out ways to know when it is time to replenish inventory, change out and update inventory, or buy more materials to manufacture inventory.   After all, you want to prevent these kinds of things from happening…

  • Lose sales
  • Hurt cash flow
  • Buy too many things which don’t and won’t sell
  • Create storage problems, including prevention of deterioration, such as plated finishes which fade over time
  • Needing cash, but it’s all tied up in inventory – you can’t eat beads
  • Reduce your profitability
  • Reduce your resiliency – that is, an ability to adapt to fashion, style, demand and culture changes
  • Losing that balance between efforts directed at inventory management with efforts required for general administration, marketing and promotion

4) Measuring Risk and Reward: Pricing

The price you set for each piece of jewelry has to be based on all the costs you incur.   Not just the costs of the parts.   Not just the time you put in.    All the costs.    These include, parts, labor and what is called overhead.   Overhead is everything else:  electricity, heat, rent, business travel, wear and tear on tools and equipment, and the like.     It is not cost-effective to have to track each and every one of these overhead costs separately, so we typically estimate them using a formula.    From a management standpoint, this formula needs to make sense and come close to its approximation.    It has to be defensible.

5) Measuring Risk and Reward: Impression Management

Much of what we do these days is digital.   We promote and sell our pieces on line.   This might be directly through a website.   It might be through social media.   It might be through an auction site.

In the digital world we track and manage impressions (often referred to as eyeballs).    Measures of risk in the digital world include concepts like Costs Per Click (CPC), Costs Per Impression (typically 1,000 impressions)(CPI), Adds To Cart (ATC), Cost Per Add To Cart (CATC), conversion rate (relates number of visitors to visitors who actually buy something), costs to maintain current conversion rate, and so forth.

Given the velocity or trends in these rates, and the returns on investments for you (such as costs of maintaining a website, marketing and promotion, supporting an inventory, handling money and credit cards, costs of shipping), you ask yourself questions about your various business and marketing strategies, your user experiences, and user impressions.    What is it costing you to persuade people to take a look and to buy?

Some of these analytics will be provided to you in stats packages you can integrate with your site.   Others will involve collecting data yourself, and analyzing them, usually in spreadsheets you create.

Next, you need to translate your understanding of risks and rewards into systems of data collection and analysis, beginning with the basics of tracking the flow of money in terms of costs and revenues.

b) ROI: Tracking Your Costs and Revenues

You set up an accounting General Ledger to track revenues and expenses, and assets and liabilities.   Your goal here is to adequately account for your expenses and revenues, and your liabilities and assets.

What are business revenues?
Business revenues include all the money coming into your business, including payments for products and services, interest on bank accounts and investments, rent you charge others to use your space or equipment, royalties you get from intellectual property.

What are business expenses?  
Business expenses are ANYTHING THAT HAVE TO DO WITH OR RELATE TO OR CONTRIBUTE TO MAKING A PROFIT.  

You might want to secure copies of IRS publications that define each business expense and how it should be accounted for.

What are business assets?
Business assets are the current values of your physical property, from desks to chairs to computers to printers to major software packages.    These are things which depreciate, that is, lose value over time.

A key asset is your inventory.    If you are selling finished jewelry, your inventory will include all your works-in-progress as well as your finished pieces.    For some jewelry businesses, it might become a little confusing to differentiate between your supply of parts and your jewelry, especially if you only assemble pieces after orders are made.    On a yearly basis, the IRS only lets you deduct the costs associated with finished jewelry pieces sold.    The rest of the inventory is treated like it is cash.   You will need to decide what exactly you call inventory and what other supplies you call supplies.   (See COST OF SALES section below).

What are business liabilities?
These are things the business owes money on, from short term net-30-day payments to suppliers to long term credit card bills and bank loans and leases.

BUSINESS USE OF A HOME:  Many jewelry designers work out of their homes.    While these expenses are red-flagged by the IRS, tax courts have consistently ruled that Congress intended to be very liberal and kind to these expenses.  

You would compute the proportion of “business use” space in your home relative to your home’s total space.   This space could be a whole room or part of a room.    This space must only be devoted to business, not personal use.   Based on this proportion, you allocate your mortgage or rent, your heating, A/C, water, sewer, and other maintenance costs to your business expenses.  

Example:   Your home is 1000 sq ft.   The room you use for your business is 100 sq ft.   So your business “use” expenses would be 10% of your rent/mortgage, 10% of your utilities, 10% of you lawn maintenance, 10% of repairs, etc.

For some expenses, you cannot use the straightforward proportion percentage.  If you use a computer, it is a better idea to have a separate one that you use for business, than for personal.  If you use one for both, you have to maintain a use log, and, based on “time the machine is used for business vs. personal”, you allocate the costs and depreciation of the machine to your business.   Telephone costs are allocated based on the proportion of business calls to all calls each month.

Don’t be shy about what to call a legitimate business expense at your home.   Picture a real store.   If they have to mow the lawn, you would have to mow the lawn at your home.   If 10% of your home were devoted to business, then 10% of your lawn mowing expenses would also qualify.   Home repairs, fixing the roof, mortgage, insurance and the like would be legitimate.   At the same time, if you have little income, do not declare these expenses with the sole purpose of gaming your tax liability.  

SETTING UP A GENERAL LEDGER (G/L):  

When you are just starting, you can set up a spreadsheet to track your expenses and revenues or even use a ledger book bought at a local office supplies store.    Or you can purchase some inexpensive software apps.    Many accounting apps have been moving to a “rent” rather than “purchase” model, where you pay a monthly fee to use their apps.   

With a General Ledger, you are basically creating a giant table for the year.   The rows are the days of the month.   The columns are your revenue and expense categories.     You also build in some summary formulas, such as the total Revenue for each month.

There are single-entry accounting systems and double-entry accounting systems.   If you are just getting started and using a ledger book or spreadsheet, using a single-entry system where you record revenues and expenses only is fine.    If you are using an accounting application, these typically are set up as a double-entry accounting system.    Here, part of the ledger accounts for revenues and expenses and the other part of the accounting system will duplicate this information in the form of assets and liabilities.    When you are making $6,000 – 10,000 per year in sales, you will want to graduate to the double-entry system.    It is a straightforward step to evolve a single-entry to a double-entry system.

IN A SINGLE-ENTRY ACCOUNTING SYSTEM, you set up a spreadsheet, and track each of all your revenues and all your business expenses.   The rows are days of the month and the columns are your various revenue and expense accounts.  Each different revenue and cost is referred to as an account (or line item).     All together, these accounts get assigned unique ID codes, and get organized into a Chart of Accounts.   Each revenue or expense entry gets tagged with a specific ID code, and entered into a General Ledger (of Accounts).

Picture your G/L as a very large table.    Again, the columns of the spreadsheet are these revenue and expense accounts.   The rows are the days of the month.   You should compute subtotals for each column at least once a month.   If your business is a busy one, you should compute subtotals for each column weekly.   You should also keep a running subtotal of year-to-date information.

 Revenue-SalesRevenue- ClassesConsumable SuppliesTelephoneRent
1/1/180.00 12.00  
1/2/1863.0035.006.00  
1/3/1842.00    
1/4/18190.00 29.00  
1/31/1843.00  150.00750.00
Jan Totals338.0035.0047.00150.00750.00
Jan Avg67.60 (/5)7.00 (/5)9.40 (/5)4.84 (/31)24.19 (/31)

What Accounts and How Many Accounts Do I Need?

You set up a sufficient number of accounts in order to satisfy two sometimes competing needs.    You should be able to glance over your general ledger each month and come away with some good understandings of how your revenues and costs relate to your business strategies and programs.   This is called good financial management.    If you have too many accounts, financially managing them becomes more and more difficult.

You also want to anticipate issues of IRS auditing.    You want clear categories, and maybe more categories than is easily managed from a financial standpoint.   The IRS will suggest specific categories.  You are not required to use them.    You can use some of them, all of them or none of them.    For example, I use one category I call OCCUPANCY, where the IRS has separate categories for INSURANCE, UTILITIES, MAINTENANCE.

  Examples of Accounts
a) Revenue (sales, rents, royalties, teaching)
b) Cost of Sales (special packaging, shipping inventory to you, commissions)
c) Employee (wages, benefits, federal taxes, state taxes)
d) Other Expenses (supplies, travel, marketing, fees, shipping things to others)
f) Assets (Cash, Inventory, Bank Accounts, fixed like computer or table)
g) Liabilities (Credit card debt, bank loan; money you owe your suppliers)
   

REVENUE ACCOUNTS
The IRS has one revenue account.    From a financial management standpoint, I like to have several revenue accounts.      I like to be able to look at the numbers (and the rates of change) and be able to figure out if any of my revenue-generating strategies is working well or not.

COST OF SALES

This is the most confusing part of the general ledger, because you have to make some rules and be clear about what you are calling “Supplies-Jewelry Making” and what you are calling “Inventory”.   

As a Jewelry Making business, you wear many hats – you are the manufacturer, the distributor and the retailer.   The tax laws are written in a way that assume you are one or the other – not all three at the same time.

At this point in the ledger, you can calculate the first of two Magic Numbers – Gross Profit.   If using a spreadsheet, you can put the formula into one of the cells of the table.

 MAGIC NUMBER (Gross Profit):
Your REVENUE minus COST OF SALES equals GROSS PROFIT.
 

If your GROSS PROFIT divided by your REVENUE is greater than .50,
then you’re doing well.

With the Magic Numbers, you have some easy to access and interpret information to help you financially manage your business.    You look at month-to-month and year-over-year trends.    When you first get started, some of these Magic Numbers might be on the not-so-good-looking-side, but again, pay attention to trends.

EMPLOYEE EXPENSES
(These are the minimum number of employee line items you will need to be able to fill out all the Federal, State and Local payroll tax related forms.   You can always add more categories than those stated here.)   

If you have employees, it may make sense to pay for a payroll service, that both cuts the checks and does your quarterly and annual payroll taxes.

EXPENSE ACCOUNTS

Your expense accounts are how you track what happens when you spend money.

Sometimes it gets a little confusing how to enter credit card expenses into your general ledger.

Now you are positioned to calculate the next Magic NumberNet Profit.

MAGIC NUMBER (Net Profit):  
Your REVENUE minus COST OF SALES minus EMPLOYEE EXPENSES minus all other EXPENSES equals your NET PROFIT.
 

You want this to be a positive number.   However, for your first year or two, it might be negative.   Again, it’s most useful to look at trends.

NOTE: There is NO IRS rule that says you have to show a profit in 3 of the last 5 years, or any rule about the frequency of profit.    As long as you a trying to run a business as best you can, even if you are failing miserably, there are no consequences for showing continued losses.

In a double-entry system, the other part of the general ledger will account for

a) ASSETS
b) LIABILITIES

Example:   You buy $10.00 of beads.    

Debit Inventory by +10.00Credit Cash by -10.00
(increases inventory total by 10.00)(decreases your cash by 10.00)
  
  

Assets are things you own and have value for your business.

ASSETS 501    INVENTORY   (See discussions of inventory above)
502     PREPAID EXPENSES
503     PEOPLE WHO OWE YOU MONEY
504     NON-COMPUTER EQUIPMENT
505     COMPUTER EQUIPMENT
506     FURNITURE
507     ACCUMULATED DEPRECIATION  

Liabilities are things you owe to others, which until these are paid off, decrease the value of your business.

LIABILITIES
601     PAYROLLTAXES      
602     OTHER TAXES
603     SALES TAXES COLLECTED
604     GIFT CERTIFICATES OUTSTANDING
605     NOTES PAYABLE – BANK
606     CREDIT CARD #1
607     CREDIT CARD #2  

You now have in place a system for gathering information about money costs and money revenues. You need to expand this system to gather even more detail, specifically about your inventory.

c) ROI: Inventory Management

The Kinds Of Things You Want To Be Doing
In Inventory Management

Monitoring and managing inventory involve several interrelated activities.     These activities will place time and cost burdens on you.    Luckily, much of this can be computerized.     There is inventory management software available, some of it specialized for jewelry.      If you are selling things online, your shopping cart system will accommodate a lot of this.

These activities include:

  1. Par Levels
  2. Storing and Tracking FIRST IN, FIRST OUT
  3. Supplier Relationships
  4. Resiliency
  5. Auditing
  6. Prioritizing
  7. Forecasting
  8. Timing

To the extent that you can systemize all this, relying on a central, computerized database, the more efficient and effective you will be.    Ask yourself, as well, whether your inventory management system will grow with you as you continue to develop and expand your business.  You always want to have the right stuff, in the right place, at the right time, at the right cost.

  1. Inventory Management: Establish Par Levels

What is the minimum inventory needed on hand at all times?  For example, when doing craft and art shows, you will need to have 4x the amount of inventory from what you want to sell (thus, $1000.00 of inventory to sell $250.00 of merchandise).

Do you have a tickle system signaling times to reorder?

What have you based your par levels on?   Sales rate?    Time it takes to acquire items?

If demand changes, do you have strategies for adjusting your par levels?

Do you need to maintain any samples of your work which never get sold, but are used for displays, promotions, or photography?

Do you need to have finished pieces on hand, or will you make pieces to order on demand?

  • Inventory Management: Storing and Tracking your FIRST IN, FIRST OUT (FIFO)

You want your oldest stock to get sold first.   

Are your things stored and displayed to meet this principle?
Do you have adequate storage space?    Containers?

What is it costing to you maintain your desired storage levels?

When stock doesn’t sell within a reasonable time, what are your plans?   Deconstruct finished pieces and re-use the parts?   Discount or write-off dead parts inventory?

  • Inventory Management: Maintain strong relationships and communication with your suppliers

What is it about some suppliers that you like, or that you dislike?

Will they accept returns?

Can they handle special orders?

If something is not currently available, can they tell you when it will be in stock again?

Will they work with you to waive minimums?

Do you have back-up suppliers in case your primary supplier can’t come through?

  • Inventory Management: Maintaining Resiliency and Doing Contingency Planning

You need to actively and continually do What If Analysis.    

What if…

  • An item becomes especially popular?
  • You run out of cash?
  • Storage becomes an issue?
  • Your tracking and data system somehow goes awry?
  • Parts become unavailable or are discontinued?
  • Parts or merchandise are damaged or spoiled?
  • Customer wants, needs, demands, desires or shopping behaviors change?
  • Other unforeseen circumstances?

Do you have any part of your inventory set aside for use in case of an emergency?

  • Inventory Management: Auditing your inventory on a regular basis.

Auditing will include a mix of big, scheduled activities and some spot checking.  Auditing means establishing a baseline.    It means identifying current inventory challenges.    It means evaluating your current procedures and data systems, and identifying their strengths and weaknesses.

  • Inventory Management: Prioritizing Inventory by Value.

Some value might have to do with how much something contributes to revenue and profitability.     Items with higher mark-ups would get more attention.

Some value might have to do with the rate of turnover.   Items more popular and sell faster would get more attention.

For management purposes, it might be useful to establish 3 groups of value.  Group A might represent things contributing 50% of value.   Group B might represent things contributing 35% of value.  Group C might represent things contributing 15% of value.

  • Inventory Management: Forecasting.

You want to be in a position where you can predict future demand, perhaps over the next year or two.   You want to be able to define seasonality fluctuations.     You want to anticipate the impacts of any upcoming promotions or advertising.      Much of forecasting involves tracking your orders/sales and relating this back to inventory.

  • Inventory Management: Timing.

What time issues/management would be associated with maintaining the lowest inventory possible to meet your demand.    Here you tried to understand if you can shift the costs of storage and securing supplies over to your suppliers.     Customers these days often demand immediate satisfaction, so shifting some costs to supplies may be problematic for you.

The systems you have built to track, maintain and analyze your money flows and your inventory are sustained by a whole set of receipts and administrivia related to banking, insurance, credit card processing, travel, and working with employees and independent contractors.

d) ROI: Other Record Keeping

You want to keep all your receipts together for each calendar year.     You do NOT want to keep all your receipts stored in a shoe box.    File your receipts, say in an accordion file, organized alphabetically by company.

If part of the transactions listed on any receipt are personal and some are business, then circle the business related ones and write something like “business” next to these.

If you did not get a receipt for something business related, write out your own receipt, with the date, purpose, description, and amount.

You must store these receipts (and your other business documentation) for 10 years.   Some places list 7 years, but you will need to store these for 10 years.

Don’t rely on paying an accountant to sort through all your receipts in order to calculate your tax liabilities each year.   The cost of this would be prohibitive.    You yourself need to do that kind of leg-work, and being very organized will help you do this efficiently and effectively.

You probably will also be generating these kinds of forms and documents in the course of doing business, and you need to maintain files of back up copies:

  • Purchase orders
  • Invoices
  • Packing slips
  • Order sheets / line forms
  • Catalogs
  • Checkbooks, and copies of checks written or check requisition forms with check numbers of checks written documented
  • State, local and federal tax documents
  • Leases / rental agreements for property and equipment
  • Account numbers and agreements with each of your suppliers and creditors
  • Travel logs
  • General Ledger entry forms

TRAVEL LOG

All your business travel is deductible, but the IRS has different rules for how you handle various business expenses.   So, you keep separate accounts of


– Auto expenses (gas, depreciation, mileage, car maintenance and repairs);

NOTE: On your income taxes, you can use either a standard mileage rate or actual expenses allocated.   You pick which method of expense tracking you want to use.   You have to use the same method all year.    You can, if you want, change the method from one year to the next.


– Meals while traveling;
– Lodging while traveling;


NOTE:  Within any calendar year, you can only use one way to calculate these expenses.   You can change from year to year.   Either use Per diem (IRS maintains allowable food and lodging rates for every city in the US) or Actual expenses (whatever you spend).


– Ticketed travel (plane, boat, railroad, taxi, limo, ferry);
– Other travel expenses (newspaper, shoe-shine, gym).

NOTE:  IRS RULE:  You should be able to live your life on the road the same way you live your life at home.   If you have a personal trainer come to your home 3 times a week, then you can have a personal trainer come to your hotel 3 times a week, and this would be a legitimate Travel-Other expense.    If you don’t, it’s not.    If you purchase the New York Times each day at home, you can purchase it while away, and declare this as a legitimate Travel-Other expense.   If you don’t, it’s not.

Keep a travel log in all your cars, and record:
DATE, BEGIN MILEAGE, END MILEAGE, subtract to get TOTAL MILEAGE. 
Write down the business purpose of each trip.  

For example, if you’re in business selling beaded jewelry, you can deduct all your mileage for all your trips to any bead or craft store, any bead society meeting, any bead-related or jewelry-making classes, any trip to a museum to see jewelry on display, any trip to a store to do research on jewelry, check out the competition, mail bills at the post office, go to the bank to make a deposit, and the like.

BUSINESS CARDS 
A must!

LOGO
This can simply be how you print the name of your business – font choice, layout, positioning of words.  Or it can be a fancy image.

There are Logo-Maker apps online that you can try.

Once you get your logo, you will want to place it on all your forms, documents, marketing materials, and online webpages.    


You will want to trademark your logo.

e) ROI: Employees and Independent Contractors

Sometimes you need to work with help.    You might hire part-time or full-time employees outright.   You might pay someone on commission or per piece where that person works as an independent contractor rather than an employee.    You might barter and trade teaching someone some skills in exchange for some work, like hiring an unpaid intern or apprentice.

In these situations, you will need to anticipate if, after paying someone, and with employees also paying additional taxes, you can still make a profit.

Some forms to pay attention to:

With hired employees:
forms W-4 (when hired)
forms W-2 and W-3 (annually)

With independent contractors:
forms W-9 (before contract gets implemented)
forms 1099-MISC and 1096 (annually)

f) ROI: Banking, Insurance and Credit Card Processing

BANKING

BANK ACCOUNT:  It is better to have a separate bank account for your business than for personal.   If you use a personal bank account for your business, it is a good idea to have your bank-checks printed up in the business-check size.    If you are a solo proprietorship, you would print your name on the checks, and under your name, you would print your doing business name as (DBA), as in: 

Janet Jackson

DBA Retro Jewelry Designs.

If you have employees, it is useful, from a financial management standpoint, to have a separate business bank account that is dedicated to all payroll expenses (salaries and taxes).

Whether you are using a personal or business banking account, be sure to print your checks using the Business Check format.    On your business checks, it is a good idea to have checks with your business name on it.  You can either open a Business Checking Account, or have your business name printed on your Personal Checking Account checks.   If printed on your personal checks, then again, you list your own name (which is your official business name) on the check, and under your name, you list “DBA, Your Business Name”, where DBA stands for Doing Business As.

INSURANCE

At some point, you will need to purchase business insurance to cover liability and theft or loss of property (inventory and equipment) issues and medical issues (you or an employee getting hurt in the context of the job).    In most places, running a business out of your home violates local zoning codes.  You may not qualify for a company’s business insurance package if you are violating these laws.

REMEMBER: When working with any insurance agent, that agent is professionally obligated to report any violation of the law, including these zoning laws, to the authorities.    This is true, even if your insurance agent is your sister!

So, when you discuss insurance with your insurance agent, you will need to pose your questions as “What If?” questions – “What If I were to start a business in my home” — rather than indicate you already have or absolutely intend to locate a business in your home.  

USE OF A CREDIT CARD:  It is a better idea to use a separate credit card for your business than for your personal uses.  If you do use one card for both personal and business, be sure to mark all original charged invoices as to which use they refer to.

CREDIT CARD PROCESSING

Whatever location your business is in – home, storefront, craftshow – you will need to be able to take credit cards.    Very few customers use cash nowadays.
You will need to be able to accept a lot of different credit cards:   Visa, MasterCard, Discover, American Express.    Ideally, you want to use a processing company that lets you accept all these cards.

You will need to be able to swipe a card, insert a card to have its chip read, as well as manually enter a card number without the card present.    You might need to be able to let someone touch their phone to your credit card machine to do the transaction.

You may want to open a credit card processing merchant account.   Or you might use a company that doesn’t require you having your own merchant account.   In this case, you would be using that company’s shared account.     Some prominent companies which do shared accounts include PayPal and Square and GoPayment and Stripe.    With the internet, competition for credit card services has gotten so fierce, that many of the rates and combined costs have been converging.    Using a company with shared accounts will reduce the various certification and reporting requirements associated with having you own account. 

Check your options online and do some serious comparisons here.    Comparisons will not be straightforward because different companies which offer credit card processing services make their money in different ways.    They will be inexpensive on some things, and more expensive on others.   Some companies make money by leasing equipment.  Others by charging you a fee for each sale (per transaction fee).  Others by charging you a rate per dollar volume of each sale (discount rate).   

Sometimes you can get used/rebuilt equipment very cheaply on line.    But how cards are processed can change frequently, sometimes necessitating the purchasing of new equipment.

If you are locked into a multi-year lease on equipment or on credit card processing through a particular company, you will be liable for the expense through the end of the contract, even if you close your business before then.    No-contract options are very appealing.    One-year contracts are OK.   Three-year contracts start to get risky, but may be an appealing option, given their whole package.

It is a good idea to check whether the credit card processing company has credit card scanning attachments that connect to your phone or tablet or operate with Wi-Fi.   This is especially important if you are doing sales off site, like at a craft show.

Data systems are in place. Procedures are in place. Basic business relationships are in place. Now you need to create mechanisms to secure all this, that is, to secure the in-flows and out-flows of money so that you are taking the risks you want to take and achieving the rewards you believe you should get in return. These mechanisms include formal and informal arrangements and contracts, such as getting terms, getting paid, and crowd funding your business.

g) ROI: Getting Terms

Whenever possible, I suggest trying to get net terms with your suppliers.    Net terms is a form of trade credit.    Instead of paying upfront for your supplies, your suppliers will give you some predetermined period of time to pay for these goods.    You get your supplies right away without having to pay until an agreed-upon future date.

Usually, you would get Net 30 terms, meaning you would pay within 30 days.   Sometimes, if you have not paid within the terms set, you might get assessed a penalty fee.

To apply for net terms with any supplier, you would submit a Credit Sheet.

CREDIT SHEET

You will want to prepare a Credit Sheet which lists the following information.   You give this sheet to businesses where you want to apply for terms.   When you buy things from businesses, you can pay cash (sometimes check or credit card) – this is considered Pre-Payment.   You can pay COD (cash on delivery), but there is usually an extra COD charge tacked on.   Or you can pay on terms or “on account”, usually signified as Net 30 or Net 10, where you would have 30 or 10 days to pay your bill.   If you don’t pay within that time, the business may take away your privilege to buy on terms, or charge you a late fee.


h) ROI: Getting Paid

Getting paid for your work can range from the straight-forward to the nightmare.    If you are doing a lot of custom work, your clients will probably pay you in increments, say 50% up front, and 50% upon completion.   If you are doing a lot of consignment, the shops may pay for anything of yours that sells perhaps quarterly.   If you are selling wholesale to other retailers, you might have extended them terms, say Net 30, where you expect to get paid at the end of the term period.

For each piece sold, or for several pieces sold at the same time, you will be generating some kind of invoice.    Each month, you might also be following up with your customers with a statement form, showing what has been paid, and what still needs to be paid.

INVOICE or STATEMENT FORMS (2-part forms – one for you and one for your customer).   You can get a blank pad at a local stationery store, or have these pre-printed with your business name, address and phone.

i) ROI: Crowd-Funding

Crowd-funding is when you seek funding from angel investors, government grants, loans or crowdfunding campaigns online, like with Kickstarter, to fund your creative pursuits.    Crowd-funding creates financing opportunities.     You might be looking to start a line of jewelry and mass produce and distribute it.   You might be looking to franchise your business.    You might have a product idea that you believe has great market potential.   Jewelry products can be costume, semi-precious stones and metals (bridge jewelry), or fine jewelry.   

Other crowd-funding platforms include Indiegogo and Ivylish.   These provide a great opportunity for upcoming and small jewelry businesses who have an especially marketable idea.   Each site has rules, requirements and fees.   It is important to research what types of jewelry projects are most successful and least successful on each site.

The most popular crowd-funding campaigns offer a reward to the backers.    This could be in the form of product, money, or an opportunity to participate in an event.   

Crowd-funding gives the designer an opportunity to pre-test his or her ideas and how the market will respond to these ideas.    

Some pointers:

  • Pitches with video presentations work best
  • Have clear and concise goals; any potential backer should be very clear about the parameters of your project and what their money should be going towards
  • You want your audience to be able to visualize your project; show them in images what you have done before, and what you hope to do with this project; make them want it
  • Reach out to your inner circle first, and evidence of their backing will legitimize and validate you and your project as you reach out to the larger market; enlist them as deputized marketers, asking them to spread the word, increasing your visibility and exposure, through their own social media connections
  • Name your donation levels in a clever and tied-in way; you might point out that they could donate the price of a coffee or price of a cab fare to make it easier to understand how to donate to your campaign
  • It helps to offer samples of your work or promotional items like stickers, posters, autographs, even T-shirts with your products branding on these
  • The campaign will be a commitment of time and energy; you will always be hustling; no time to sit back and watch
  • Keep your backers up-to-date with posts, newsletters, whatever
  • If your donations slow down to a trickle, try a new approach to your marketing
  • Remember, many campaigns reach their final goal in the eleventh hour

Accounting, bookkeeping, inventory management, record keeping, business relationships with financial institutions and suppliers are in place. You still won’t be able to achieve that sweet spot between risk and reward without the appropriate business growth mind-set. In the creative marketplace, where your success relies on both your artistic/design, as well as your business, acumen, this can be difficult for you. But it can be done. With that right mind-set.

j) ROI: What Does It Mean To Foster A Growth Mind-Set

Failure is uncomfortable.  Disconcerting.    Too often, we do everything we can to keep ourselves out of situations where we might fail.   We focus on what could go wrong, instead of what could go right.   We think we don’t have the abilities to do the task.    We get paralyzed.   We do nothing.    Or we keep repeating ourselves, producing the same-ole, same-ole, whether there is a continued market for these items, or not.   Or we begin to visualize any risk as insurmountable, way bigger than it really is.

But allowing any fear of failure to become some kind of insurmountable wall works against us.   If we are trying to make a go of it by selling our jewelry, we can’t build these kinds of walls.   Successful business people and successful businesses need to foster a culture which promotes a growth mindset.    Simply, a growth mindset is a culture where you have permission and encouragement and confidence to take risks.    

Risks are OK because they bring rewards.   Rewards allow the business to maintain itself, sustain itself, grow and expand.    Failures are OK, as well, as long as they become learning experiences.    Doubt and self-doubt are OK only if they are used to trigger reflection and new ideas to overcome them.   Not having the skills requisite for the moment is OK because we are all capable of continual learning.   Temporary setbacks are OK because you have had them before and overcame them.

Carol Dweck wrote the seminal book on growth mindsets called Mindset: The New Psychology of Success (2006), with a series of related books to follow.    People have either a growth-mindset or a fixed-mindset.   

Those with a growth-mindset believe their abilities are developed through continual learning and hard work.   They are more willing to experiment and try new things, and see failures as opportunities rather than set backs.   

Those with a fixed-mindset believe that abilities are innate – you’re born with talents or not.    They seek out opportunities where specific talents, rather than effort, leads to success.   They prefer to repeat tasks and apply skills they are already familiar with.

Developing a growth mindset means such things as…

  1. Understanding the power of “Not Yet”.
  2. Setting learning and continual learning goals
  3. Being deliberate and constantly challenging yourself
  4. Asking for honest feedback and criticism
  5. Always reflecting on and being very metacognitive about your thoughts and actions, successes and failures
  6. Recognizing if you are stuck in a fixed-mindset, and acknowledging your weaknesses
  7. Focusing on the process, and less-so on the result
  8. Getting comfortable with self-affirmation, rather than needing the affirmation and approval of others

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FOOTNOTES

Campbell, Casandra.   What Is Inventory Management? How To Track Stock For Your Ecommerce Business, Inventory Management, 6/19/20.
As referenced in:
Inventory Management

Caramela, Sammi, 10 Essential Tips For Effective Inventory Management, Business News Daily, 4/15/2020.
As referenced in:
https://www.businessnewsdaily.com/10613-effective-inventory-management.html

Dweck, Carol.  Mindset: The New Psychology of Success, 2006

Fundbox.com.  Trade Credit: Everything you need to know about net terms for your business.  n.d.
As referenced in:
https://fundbox.com/resources/guides/trade-credit/

Shah, Vyom.   Crowdfunding the Jewelry business, 11/27/14.
As reference in:
https://betterdiamondinitiative.org/crowdfunding-the-jewelry-business/

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