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COMPONENT DESIGN SYSTEM: Building Both Efficiency As Well As Effectiveness Into Your Jewelry Designs

Posted by learntobead on April 16, 2021

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 Jewelry designers do not necessarily think of efficiencies when organizing and arranging their designs. They primarily focus their thinking and energies on how to effectively and successfully go from one end to the other. But the next question becomes: Is this efficient, as well as effective? Could the same piece be done just as well in less time? With less effort? Component Based Design is a process of building a piece of jewelry in pieces, sections or segments. A component is a something well-defined that feels like a whole unto itself. It can be a form. It can be a shape. It can be an object. It can be a set of steps or procedures. It has these kinds of characteristics: modularity, replaceability, portability and re-usability. Component Based Design unifies the design process and reduces variability in the numbers and types of choices we have to make as designers. It helps us tackle Design Debt. Design Debt refers to all the inefficiencies in the design process which add more time and effort to what you are trying to accomplish. This article finishes with discussion about how to create a Component Based Design System for jewelry designers.

 

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Can Jewelry Designs Be Both Effective And Efficient?

Jewelry designers do not necessarily think of efficiency when organizing and arranging their designs. They ponder how to go from one end to the other, focusing their efforts on achieving an effective level of satisfaction and appeal. They think a lot about the use and placement of colors, textures and patterns. They figure out ways to attach a clasp. They jump from selecting design components to arranging them. And in this sense, visually, they tend to see their designs as a Gestalt - that is, they appreciate and evaluate their satisfaction with the piece as a whole. That piece as a whole should evoke a greater satisfaction, sense of finish and success moreso than the individual parts. And in general, that’s the way it should be. Designers want to be effective as designers. This is what effectiveness is about.

But the next question becomes is this efficient, as well as effective? Could the same piece have been done just as well in less time? With less effort? With less thought about design elements and their arrangement? With less investment in all the beads and other pieces which eventually become finished pieces of jewelry? Is this a piece which could be created over and over again for multiple clients and larger productions? Could we be just as creative and just as effective by building in more efficiency into the process of design? Would adding an intervening step - that is, using design components to build components and then using components to build compositions - be smarter?

Re-thinking the design process in terms of components and component design systems provides one intriguing set of answers. Approaching design as a Component Based Design System is an especially good option for designers to incorporate, and for those designers who want to build their designing into a profitable business. Even if you are not headed in a business direction, thinking of design in terms of components and component systems offers a whole new way of creative thinking and design possibilities.


What Is A Component?

A component is a something well-defined that feels like a whole unto itself. It can be a form. It can be a shape. It can be an object. It can be a set of steps or procedures. It has these kinds of characteristics:

· Modularity
· Replaceability
· Portability
· Re-usability
· Functionality encapsulated within the component’s design
· Is minimally dependent on the use or presence of other components
· Anticipates its implementation
· Intended to interface and interact with other components
· Not context specific
· Can be combined with other components to create new possibilities


If we think of a piece of jewelry as an architectural object, then it would be made up of a set of components which in some way conform to one another and interact with one another in a common, predictable way. The designer would create sets of components. Then any finished composition and design would be assembled from these components.
Components will range in complexity. In general, the more complex the component, the more limited its applications. The more re-usable your components are, the easier they are to design with. The more re-usable your components are, the easier it will be to scale your projects larger or smaller, longer or shorter, more volume or less volume. Components allow you to take something apart which isn’t selling or no longer useful, and re-use all the parts.


What Is Component Based Design?

Component Based Design is a process of building a piece of jewelry in pieces, sections or segments.
These pieces are combinations of design elements.

These combinations of design elements become a set of smaller, manageable parts, which themselves are assembled into a piece of jewelry.

Systems of re-usable design components will allow any number of design possibilities. A component based design system provides a commonality within a visual language.

Instead of focusing on designing a particular product, the designer concentrates on creating a design system. The designer’s principal responsibility in the formation of style is to create meaningful forms. These forms are more than shapes. These forms contain the essential elements which contribute to the jewelry’s aesthetic and functional structure and composition. Some forms will be able to stand on their own; others, may be dependent on the presence and organization of others.

Component Based Design Systems enable the designer to build better products faster by making design re-usable. Re-usability allows designs to more easily be adapted to different body types, context-requirements, and/or scales.
Component Based Design Systems require clear documentation for each component, and a set of rules or standards for their use and assembly. Standards govern the purpose, style, and usage of these components. Documentation and standards help the designer avoid situations where you find yourself reinventing the wheel, so to speak. It helps the designer deal with such things as backlog, adapting different versions of a particular design, and concurrently managing both short-term and long-term goals and aspirations. It allows the designer to spend more time and focus on the trickier and more difficult part of coming up with designs specific or unique to each client.


How Is Component Design Helpful For Jewelry Designers?

Component Design allows for the designer to…
– Design consistently
– Prototype faster
– Iterate more quickly
– Improve usability

Design consistently. Standardized components used consistently and repetitively create a more predictable outcome. Standardized components also allow designers to spend less time focused on style, and more time developing a better user-experience and client outcome.

Prototype faster. Working within a coherent design system allows you to more quickly and easily organize your work flows. It allows you to experiment over and over again with the amount of prototypes and variants. Working with and within a design system should also provider greater and faster insights into design dilemmas and solutions.
Iterate more quickly. Design systems reduce the effort in design, from having to try out myriad colors, patterns, textures, scales and other design elements, to only having to try out a few components in the design system.

Improve usability. Should reduce inconsistent, unworkable or illogical combinations of things within any composition. In return, this should increase client satisfaction when wearing any piece of jewelry so created.


Design Systems Do Not Limit Creativity Or Design

Creating a design system does not limit or restrain the designer. In fact, it opens up more possibilities, more easily attainable. Design systems will also allow pieces to be easily customized and adapted to different situations. Design systems take away a lot of the worry about what to do next.

Design systems do not limit creativity. They offer a different way of allowing the designer to assert their creativity. The designer is still free to experiment, evolve, play, adapt. Design systems improve efficiency; they save time. Design systems do not constrain, restrain or otherwise limit the designer to work and think and speak and play as a designer.
Design systems can evolve and adapt to changes in styles and fashions. In fact, these systems trigger insights more easily apparent, as to how things need to change. After all, a change in one component will automatically define what changes need to be made in all other components it will interface and interact with.

Component based design systems are not one-shot, one-time deals. They are never complete. The work to create and maintain and improve them is ongoing. These systems are living. But because a change in one component will trigger changes in others, the effort it takes to maintain and grow these system can be many times less than what happens when the designer does not rely on such a system.




Design Debt: Something Serious Which Needs To Be Managed

In more jargoned, but eye-opening, language, Component Based Design Systems reduce what is called Design Debt.
Design Debt refers to all the inefficiencies in your design process which adds more time and effort to what you are trying to accomplish, as you are designing any piece of jewelry. Design Debt continues to accumulate and increase as a project matures over time. Even after the designer has relinquished the project to the client, Design Debt will continue to accumulate if the designer fails to deal with it head on.

Design Debt includes things like…
– Taking too much time to meet your goals
– Having to do too much research or experimentation when figuring out how to proceed
– Spending too much time thinking how to make a particular piece of jewelry unique or special for a certain client

Design Debt also includes all the good design concepts or solutions you skipped in order to complete your project on time. Design Debt includes all the additional time and effort you will have to make, should you have a backlog of projects which keep accumulating and accumulating as you are trying to finish the particular project you are now working on.

Some designers might approach the ever-accumulating Design Debt by cutting corners or relinquishing the project to the client prematurely. The designer might settle for a lower fee or less profitability. The designer might find that negative word-of-mouth is building too quickly with unsatisfied clients or demanding business stakeholders.

There are many sources of Design Debt, some very tangible, others less so. Examples of these sources of Design Debt include…

· The designer relies on an overabundance of non-reusable materials, or too much variation in inventory, or, inconsistent styles and conventions, all difficult to maintain

· The designer might start a project with assumptions, rather than research

· The designer might not have sufficient time or budget to implement each choice and step with care

· The designer might not have a full understanding of how each design element, form and component should best be arranged and interact within a particular composition

· The designer might be working with a partner or assistant, with incomplete information passing hands, as each works on the project

· The designer might not have a chance to test a design before its implementation or sale

· The designer might not get the opportunity to find out what happens with a particular piece after it has left the studio and the client wears it

· The designer might not have in place any formal or informal time and procedure for reflection and evaluation, in order to understand how various choices led to good or bad designs, or whether there is an improvement or degradation in the designer’s brand due to good or bad performance

· The designer might rely on published patterns without the wherewithal to adapt or customize them, or otherwise approach unfamiliar situations


Ultimately, Design Debt is measured in how satisfied our clients are with the products we design, and how that satisfaction affects what is referred to as contagion - the spread of word of mouth and its positive or negative impacts on our brand and reputation. Over time, Design Debt accumulates and becomes a great burden on any designer and design business.



Component Based Design Systems Help Us Tackle Design Debt

Anything which unifies the design process and reduces variability in the numbers and types of choices we make as designers will help us tackle Design Debt. That is what Component Based Design Systems are all about.
Component Based Design allows the designer to deal with a smaller number of pieces and variables at any one time.
Component Based Design leverages previous thinking and exploring, reducing the number of tasks which have to be done for each subsequent piece of jewelry.

And Component Based Design allows the designer to more easily and directly relate any kind of feedback to specific project design choices.



Creating A Component Based Design System

A Component Based Design System has…
· Visual elements
· Modular elements
· Standards
· A voice and tone
· A relationship to client needs

 

Your Component Based Design System can either be
(a) decoupled from any specific project, which is effective for establishing a brand identity, or
(b) coupled to a specific project, which is more effective for developing a line of jewelry made up of individual pieces.

 

Creating a Component Based Design System involves Six Key Task-Activities, which are…
(1) Conducting Visual Audit of Current Designs / Inventory
(2) Determining Your Voice and Tone / Brand Identity
(3) Designing A Component / Modular Elements
(4) Creating Component Based Design System(s) / Library of Documentation and Standards
(5) Defining Rules of Scale / Size, Volume, Distribution and Placement
(6) Relating To Customer Needs / Shared Understandings

 


(1) Visual Audit of Current Designs / Inventory


You will need to carefully review the visual elements you use in your current jewelry design practice.
You want to create a visual design language of discernable design elements, shapes, forms and components you are using now.

You will in effect be creating two inventories:
· First, a Visual Inventory of design elements which are visual features, and
· Second, a Functional Inventory of those beads, findings, shapes, forms and/or other component parts which are functional and interface with the wearer, such as clasp assemblies or things which allow a piece to move, drape and flow, or things which make a piece of jewelry adjustable, or things which allow a piece of jewelry to maintain a shape or position.


For each discernable set of design elements, (such as, color, pattern, shape, form, movement, dimensionality) or completely formed component, you would generate a description based on auditing the following design elements:
a. color, finish, pattern, texture
 b. point, line, plane, shape, form, theme (typology)
 c. sizing and spacing and scale (2–4 sets of standards of utilization; or by body type)
 d. movement and dimensionality
 e. canvas (stringing materials; foundation)
 f. principles of composition, construction, manipulation; layouts
 g. support systems (allows movement, drape and flow), structural systems (allows maintaining shapes or positions) and other functional elements
 h. plans, guidelines, icons


Your inventories can be a simple check-list, or more narrative descriptions.

By creating a 2-layer Inventory of Design, you will be able to visualize the possible design components and patterns you might have at your disposal, as well as quantify what you are working with. Cataloging these details puts you in a better management/control position. This makes visible many of the consequences of your choices and selections in terms of managing Design Debt.

After you have finished creating your initial Inventory, review it. Identify where inconsistencies are. What things are must-haves? What things are superfluous?

Then look for things which go together or will be used together. Develop a simple system of categories to group things into. Keep the number of categories short. Examples of categories might include Patterns, Templates, Themes, User Interface, Foundations, Center Pieces, Color Palettes, Linkability.



(2) Determine Your Voice and Tone / Brand Identity


You want your parts, components and groupings of components, when used in the design of a piece of jewelry, to give the impression of you as a designer and/or your business’s personality.

Look at your inventory and ask yourself: What are the more emotional, intangible qualities these seem to evoke? Do they evoke things, not only about my design sense today, but about what I aspire to be as a designer? How do I want my clients to respond to my pieces?

There should be a high level of coherence within your groupings of components. They should express a voice and tone, either of your entire brand, or of a particular line of jewelry you have created.

If there is not a high level of coherence, determine why not. What adjustments do you need to make in your inventory to achieve this?

 


(3) Design A Component / Modular Elements


Begin to take your visual inventory and re-imagine it as one or more collections of components.

Types of components to think about:
– Re-usable
– Repeatable
– Build-upon / Connectible / Linkable
– Scale-able
– Evolvable over time
– Has necessary function
– Has necessary shape, form or theme
– Can easily interface with customer as the jewelry is worn

Some components will be modular and self-contained, thus not dependent on the presence of other components. Some components will be compositional in that they fit or coordinate well with others. Some components will be generic, thus usable in many different kinds of situations. And some components will be flexible because they can be tweaked and made to work in a variety of situations.

Now, actually begin to develop components. Towards this end, start with developing one component.

1st: List the key design elements, such as color, pattern, texture, shape, movement, dimensionality, and the like. These are the particular design elements you want associated with your core brand identity.
2nd: Define the smallest re-usable parts, such as beads, bead clusters, connectable links, stringing material and the like.
3rd: Scale up and define a complete component
4th: Scale up and define a composition consisting of several arranged components
5th: Fully layout the piece of jewelry, which will consist of one or more components and one or more compositions.


As you develop components, you will always need to keep in mind two things:
a) How you want the component to behave within your piece, and
b) How you want the component to interface with the client wearing the jewelry



CHAIN LINK COMPONENTS
 A Simplified Example of Component Design
G-CLEF COMPONENT

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I have a basic component I call a G-Clef Component. It is a simple chain link which is very connectable to other things. I use this as a simple example of a Component Based Design System.

I use this in several ways. I can use these as links in a standard chain. I can easily adapt two of these links to function as a hook and eye clasp. I can add beads between each link. I can use this as the basis for creating a pendant center piece. I can use this for earring dangles.

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The general infinity shape and reference to music (I’m based in Nashville, Tennessee - ”Music City USA”) are easily incorporated into several lines of my jewelry, though there is one particular line of jewelry totally focused on this link component.

My documentation for this component is as follows:

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Two Other Examples Of Jewelry Designed Based On Components

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(4) Component Based Design Systems / Library of Documentation and Standards

Your design system is much more than a pattern library. It is a collection of re-usable components which can be assembled together in any number of ways, and used to clearly signal and cement the identify of your brand as a whole, or of a particular line of jewelry you have developed.

As such, the system has meaning. It has structure. It embodies a system of concepts relevant to and representative of you as a designer and your design business or avocation. It is resilient.

Towards this end, to build in these meanings and intentions and expectations, you will develop a set of standards. Adhering to standards is how we manage and maintain consistency with how these meanings / intensions / expectations are expressed within any piece of jewelry we create. Following the standards is how we influence our clients to consistently come to share these understandings. Standards remove a lot of the arbitrariness in our design decisions. These standards should be put in writing, and be part of your documentation library.
Regardless of what materials, tools and techniques specific to your jewelry design practice, a successful design system will follow a core set of standards developed by you. These standards will inform you how components should be designed and how they should be organized within any composition.

These standards will focus on the following:

Brand touch points. What design elements or their arrangements evoke immediate associations with your jewelry designs?

Consistent client experience. What design elements, components or their arrangements result in a consistent client experience? When your client buys your jewelry and wears it, how does the client feel? How does the client want others to react, and does the client in fact get these reactions? When you client wears your jewelry, what needs, wants and desires does s/he want to be fulfilled, and how successful has your jewelry been towards this end? How do you maintain consistency in construction, functionality and durability of your pieces?

Coherent collection. To what extent do all the pieces in your collection similarly represent your brand and result in a similar, consistent client experience?

Naming conventions. What names should we give to our components, our pieces of jewelry, our lines of jewelry, our business and brand identity as a whole? How will these names resonate with our clients? Which names do you want to be universal, and which iconic?

Emphasis. What aspects of your jewelry do you want the client to focus on? Which aspects of your jewelry are most likely to trigger a conversation between you and the client, and between the client and that person’s various audiences? Is that the conversation about your jewelry you want people to have?

Utility. What is each component, and how should you use it? What rules should you follow for building modular, composable, generic and flexible components? For linking and connecting them? How do you manage modifying any one component?

Potential. What determines if a component is to have a high potential value? Does the component have great commonality in use and/or re-use? Does the component have great business potential, whether or not it can be commonly used? Does the component have great potential in creating patterns or textures or shapes or forms or themes? Is the component technically feasible to create? Can this component be created within a certain timeframe, if there are time constraints? Does this component have the potential to excite others?

 


Codify, thus standardize, how components are described and detailed. Include information about basic design elements, such as color, pattern, texture, finishes. Give your component a name. Describe how you can adjust for scale - making something larger, smaller, with more volume, with less volume. Elaborate on any assembly considerations. Also anticipate in writing any situational or contingency requirements. Provide insights into how this component fits in with other components, or becomes the core component from which additional components might be fashioned. Write some notes about how the component is consistent with the standards for your brand / jewelry lines which you have developed. Last, take a picture of your component and include this image in your database.

 

 


(5) Scale / Size, Volume, Distribution and Placement


Scalability has to do with size and volume, and your strategies for adapting your component to different scales. You might think about a larger version for a necklace and a smaller version for a bracelet. You might think of modifying the component to increase its volume for use as a center piece pendant.

Scalability in jewelry will also refer to the ease of placing or distributing variations in size and/or volume.

Scalability begins with taking a modular approach to your jewelry design work. Additionally, your component must express some characteristics which are both generic as well as flexible. You want your components to be able to grow and shrink with the content of your pieces. I like to develop both a larger and a smaller version of each component, which I get very specific on and document. This usually gives me enough information should I still want to change size or volume.

 


(6) Relate To Customer Needs / Shared Understandings


For any design, it is a long journey from idea to implementation. This journey involves different people at different times along the way. The designer’s ability to solve what is, in effect, a complex problem or puzzle becomes a performance of sorts, where the designer ferrets out in various ways - deliberate or otherwise - what the end users will perceive as making sense, having value and eliciting a desire powerful enough to motivate them to wear a piece of jewelry, buy it, utilize it, exhibit it or collect it. The designer, however, wants one more critical thing to result from this performance - recognition and validation of all the creative and managerial choices he or she made during the design process.

People will not use a design if their agendas and understandings do not converge in some way. They will interact with the designer to answer the question: Do You Know What I Know? If they get a sense, even figure out, that the answer is Yes, they share understandings! - they then become willing to collaborate (or at least become complicit) with the designer and the developing design.

A Component Based Design System forces the designer to incorporate these shared understandings into the development and organization of components. Component choices must be justified according to a set of standards. This set of standards relates design choices to how the client will perceive and respond to your brand identity or the identity you want any line of jewelry to reflect. A Component Design System creates tight guidance and boundaries, increasing not only the efficiency of your operation, but your effectiveness at developing jewelry which is consistent, coherent, user-friendly, user-desirable, and contagious.

Re-orienting your design practice towards a Component Based Design System may seem daunting, at first. But it gets easier and faster as the system grows and evolves. It is well worth the effort.


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FOOTNOTES

Elliott, Gavin. “Design Debt: How to Identify Design Debt, Measure It and Overcome It.” 5/7/20. As referenced in:
 https://medium.com/@gavinelliott/design-debt-f8026795cc1c


Fanguy, Will. “A Comprehensive Guide To Design Systems.” 6/24/19. As referenced in:
 https://www.invisionapp.com/inside-design/guide-to-design-systems/


Feld, Warren. “Jewelry Design Composition: Playing With Building Blocks Called Design Elements,” Medium.com, (2020).
As referenced in:
https://warren-29626.medium.com/jewelry-design-composition-playing-with-building-blocks-called-design-elements-d2df696551d8


Koschei, Jordan. “How To Tackle Design Debt.” 4/19/17. As referenced in:
 https://www.invisionapp.com/inside-design/tackle-design-debt/


Mazur, Michal. “What Is Design Debt and Why You Should Treat It Seriously.” 8/12/18. As referenced in:
https://uxdesign.cc/what-is-design-debt-and-why-you-should-treat-it-seriously-4366d33d3c89#:~:text=In%20simple%20terms%2C%20design%20debt,the%20users%20will%20make%20do
Suarez, Marco, with Jina Anne, Katie Sylor-Miller, Diana Mounter, and Roy Stanfield. Design Systems Handbook. DesignBetter.Co by InVision.


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Other Articles of Interest by Warren Feld:

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?
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?
RESILIENCY: Do You Have The Most Important Skill Every Designer Must Have?
PART 1: SHARED UNDERSTANDINGS: THE CONVERSATION CENTERED WITHIN DESIGN

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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.
Add your name to my email list.
Visit Land of Odds online (https://www.landofodds.com)for all your jewelry making supplies.

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WHEN RELYING ON OTHER PEOPLE TO SELL YOUR JEWELRY:  6 Things To Be Sure To Do Which Will Improve…

Posted by learntobead on March 11, 2021

The Trunk Show

The women were so excited about the jewelry. Trying it on. Adjusting it to see if they could wear it a different way. Changing up the silhouettes. Pretending they were wearing different outfits to visualize what the pieces would look like. It was a very versatile line of jewelry, and all the women noticed that very quickly. They could wear necklaces as bracelets. Combine bracelets into necklaces. Take one bracelet, add it to a necklace, and create a longer piece. They could purchase different pendant drops, all as add-ons as they wished or none at all. And the drops easily converted into earrings. Imagine that! And the awe and glee and elation and animation — yes, these women were more than happy to have found this jewelry designer and her custom pieces.

I was there that day. In the store. At this one-day trunk show. I saw it all. These women were purchasing almost every last piece. It was the right aesthetic. Contemporary but conservative as well. An individualized look but not outlandish. Easy to wear. Easy to adapt. Easy to visualize what it would look like with different outfits and in different situations.

The jewelry designer was very attentive. She demonstrated the flexibility of each piece in the line. She, at first, asked the women individually a lot about themselves and how they liked to wear jewelry. Then she subtly shifted the conversation a bit so they were talking about themselves and how they would want to wear her jewelry.

At one point, I slowly looked around this upscale clothing, accessories and jewelry store. There were seven store associates standing around. Standing around. A glazed look on their faces. The enthusiasm and energy before them somehow foreign. After the trunk show, when the designer was no longer there, they would be the ones to represent her and her jewelry.

They stood there with blank faces. As if watching a movie they found uninteresting. None of them stepped in. None of them stepped up. Even though the jewelry designer was mobbed with seven or eight women at any one time. They obviously were unable to empathize with the crowd. They had no clue how to sell the pieces because these were pieces of jewelry they didn’t wear themselves. They were somewhat clueless about how to suggest how these store guests could put things together in a stylish, wearable way.

At the end of the day, the jewelry designer was very happy with her sales. But it hit her. Her jewelry would remain at this store for the next several months. But she would not. She would be leaving that day. And she was worried. She thought that over the 10 hours, her purpose was not only to sell to customers, but her purpose was also to model for the sales staff the smart ways for working with these customers and selling her product.

Had the store associates been reliable deputized partners with the jewelry designer that day, all would have made many more customers happy, and made a lot of money and commissions for store, sales staff and designer. Going forward, the designer now had doubts.

Jewelry Designers Often Have To Rely On Others,
 The Designers’ Success Relies On Their Whims

Most jewelry designers do not own their own shops. They rely on other people to sell their stuff. They might put their jewelry in a clothing, accessories or jewelry store on consignment. They might be represented by a gallery or sales representative, with their jewelry spread out in many stores. They might package their jewelry into trunk shows or pick boxes where they send out their jewelry to various stores. These other venues can pick and choose and sell what they want, then return the rest.

The success of sales becomes the whim of who sells it. Their understanding of the designs. Whether they like the pieces or not. Their motivations to keep things clean, neat and displayed well. If they can see themselves or their friends or spouses wearing these. Their sense of style, knowing what things might work well together with what fashions. How well they communicate with their customers. Perhaps even IF they communicate with their customers. If they follow-up with their customers.

Designers Must Take The Lead In Preparing Others To Sell Their Jewelry

The designer must play a leadership role here. The designer as leader must effectively influence, persuade, train and convince whoever will be selling their jewelry how to sell it. As best as possible, the designer must build shared understandings about the product with those who will sell it.

Passive assumptions won’t work here. The designer cannot assume that store owners and their sales staff, because they supposedly want to show a profit, will be good at their jobs. More likely, they are not — particularly when it comes to selling someone else’s stuff. The consequences of poor salesmanship are virtually invisible until many months, even years, later. That’s too late to wait.

To add to the difficulties, the opportunities in terms of time, resources, and follow-up are very limited. The designer may get just one shot to build shared understandings and accomplish several goals. Ideally this should happen in person. Often, it is not. Often it is reduced to shared emails, some printed materials, and some phone calls.

Six Key Shared Understandings

There are six key understandings which the designer must influence others to share. These include,

1. The Key Product Details

2. The Primary Product Benefits

3. The Smart Ways To Use The Products To Build Customer Relationships

4. What Rewards The Sales Staff Should Expect For Themselves, Based On Their Performance

5. At All Times, How To Maintain The Optimum Inventory and Product Mix

6. How To Routinize Timely Feedback

1. The Key Product Details

Think of every line of jewelry as its own culture with a group or tribal identity. Which three to six words or simple phrases encapsulate what that identify is all about? What were the key, primary design choices made which give this line of jewelry its character and resonance? How would anyone know that any piece of jewelry was a part of that group or tribe?

These key words or details might relate to materials and techniques. They might reference fashion, style and taste. They might be things about the designer or about jewelry design in general. There will be lots and lots of details which can be conveyed, but the list of details will need to be severely culled.

People have what is called finite rationality. They can only handle and remember between 4 and 10 pieces of information at a time, with 7 pieces of information usually the upper limit for most people.

Don’t confuse the sales staff. Don’t let them confuse the customers. Limit that descriptive words you use when explaining your jewelry, your design choices, and your design goals. Keep these descriptors simple, un-jargoned, devoid of business babble and clichés.

Keep repeating these 3 to 6 things. Repeat them in ways you want the sales staff to learn them, understand them, and be able to repeat these 3 to 6 things to their customers when you are not around.

2. The Primary Product Benefits

It is not the features of your jewelry that result in sales; it is the benefits people perceive the jewelry will provide for them. People do not focus on what the product is. They focus on what the product means to them.

People buy things to solve problems. These problems might relate to needs and wants. They might relate to achieving status and position. They might resolve emotional desires.

What problems for the potential customer does your jewelry solve? Think carefully about this. Make lists.

Then reflect awhile on how you think your jewelry solves these problems for your customers better than any of your competitors. What are your competitive advantages?

Convey to store owners and sales staff the results of your thinking and synthesis. You do not only want to list for them what customer problems your jewelry solves for them. You do not want your explanation divorced from the actual selling situation. You are not presenting an academic assessment; you want to present a marketing assessment. You want to convey how your jewelry resolves customer problems better than anyone else. This is a little more difficult to do and get the words out, and requires some practice.

And, again, remember that people have finite rationality. Don’t talk about everything. Focus on the couple of primary competitive advantages your line of jewelry has.

As best as possible, make your benefits concrete and specific. Think of which benefits would most readily stick in people’s minds.

3. The Smart Ways To Use The Products To Build Customer Relationships

Any sale is an interaction based on communication. The sale is not the only result. The building of a relationship also results. Too often sales staff performance is rated based on number of sales, and too rarely rated on building relationships. But it is in the building of relationships where we get those repeat sales and bigger sales and broader sales and better word of mouth and more new customers and, you get the idea.

Ideally, if you get the chance, like in the trunk show described above, you can model these relationship building behaviors in front of the sales staff. You can demonstrate how you elicit customer needs, wants and problems to be solved, and how you gain their awareness and trust in how your jewelry will meet these in an advantageous way. If there are other types of products in the store, you can demonstrate how to co-market, such as your jewelry with the store’s clothing.

Absent the in-person approach, you can provide ideas in periodic emails. You might do some simple one-sided-page images and short descriptive content. You might create a fun video that you can share.

You can also work with store staff in developing customer lists detailing the who, how to contact them, the what they bought, the dates, the follow-up sales, customer preferences, any descriptive information about the customer to help future sales.

To help guarantee that sales staff keep these lists and fill them out completely, you can ask to see them periodically to review. You can encourage sales staff to communicate with customers pre-, during, and –post sales. Based on your review, you can suggest specific items in the line that each customer might like to see, and possibly buy. Even though you are not physically present, you can still show how building relationships can generate sales and profits.

4. What Rewards The Sales Staff Should Expect For Themselves, 
 Based On Their Performance

It is helpful if you not only generate commissions and sales for the store, but also some kind of reward for the sales staff each time they sell one of your pieces. Show you recognize their efforts and appreciate them. If sales staff get paid no matter what they do, they may not give your line of jewelry the attention and promotion it deserves.

Besides some reward, perhaps a thank you note, or giving either a monetary extra commission or a piece of your jewelry, you most likely also want to reward the sales staff’ customer follow-ups, without actual sales, such as sending thank you notes or calling them when you send new pieces to the store.

5. At All Times, How To Maintain The Optimum Inventory and Product Mix

Do not assume that the store will maintain the optimum inventory and product mix of your jewelry at all times. There will always be other companies, other designers and other product opportunities competing for any store’s attention. So you will need to step in and capture that attention on a regular basis.

Create an easily update-able plan for the store that details the ideal mix of product — types of jewelry, price points, color, finishes and textures.

Reduce this to a simple product inventory sheet to give the store.

Contact the store periodically to update the inventory, compare to your plan, and make inventory suggestions accordingly.

6. How To Routinize Timely Feedback

You need to get feedback routinely, say at least every 3 to 6 months. You need regular feedback on your jewelry, on the sales process, on other things you can do to help sales staff become better at selling your jewelry.

If your jewelry is not turning at least twice a year, the particular store is probably not right for you. It might be the inattentiveness of the sales staff. It might be a lack of fit with the store’s customer base. But, if you are not getting a minimum of 2 turns a year, this location is not working either for you or the store.

You might formalize requests for quarterly results. You might call the store or any of its sales staff periodically to get information feedback. You might send a questionnaire to customers who have previously purchased your jewelry.

It helps the feedback process along when you provide rewards. This might be in the form of refreshments, such us sending an evaluation form with a box of cookies. This might take the form of adding some free pieces of jewelry to be sold, or one-time discount on purchases.

______________________________

FOOTNOTES

James, Geoffrey. 6 Ways to Persuade Customers to Buy. Inc.com, 2020.

As referenced in:

https://www.inc.com/geoffrey-james/6-ways-to-convince-customers-to-buy.html

McLeod, Saul. “Short Term Memory,” Simply Psychology, 2009.

As referenced in:
 https://www.simplypsychology.org/short-term-memory.html#:~:text=The%20Magic%20number%207%20(plus,it%20the%20magic%20number%207

Sales Motivation: 18 Tips To Keep Your Salespeople Happy.
 As referenced in:

https://www.pipedrive.com/en/blog/sales-motivation-tips

_____________________________________

Other Articles of Interest by Warren Feld:

Should I Set Up My Craft Business On A Marketplace Online?

The Importance of Self-Promotion: Don’t Be Shy

Are You Prepared For When The Reporter Comes A-Calling?

A Fool-Proof Formula For Pricing And Selling Your Jewelry

Designer Connect Profile: Tony Perrin, Jewelry Designer

My Aunt Gert: Illustrating Some Lessons In Business Smarts

Copyrighting Your Pieces: Let’s Not Confuse The Moral With The Legal Issues

Naming Your Business / Naming Your Jewelry

Jewelry Making Materials: Knowing What To Do

To What Extent Should Business Concerns Influence Artistic and Jewelry Design Choices

How Creatives Can Successfully Survive In Business

Getting Started In Business: What You Do First To Make It Official

So You Want To Do Craft Shows: Lesson 4: Set Realistic Goals

The Competition: Underestimate Them At Your Peril!

___________________________________

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.

Add your name to my email list.

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

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

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

THE JEWELRY DESIGNER’S APPROACH TO COLOR: New Video Tutorial Added

Posted by learntobead on November 18, 2020

Warren Feld Jewelry

Update, 11-17-20


NEW VIDEO TUTORIAL POSTED:
THE JEWELRY DESIGNER’S APPROACH TO COLOR


Jewelry creates a series of dilemmas for the jewelry maker — not always anticipated by what most jewelry makers are taught in a typical art class.

That’s the rub!

Painters can create any color and color effect they want with paints.

Jewelry makers do not have access, nor can they easily create, a full color palette and all the desired coloration effects with the beads and other components used to make jewelry.

Jewelry is not like a painting or sculpture that sits in one place, with controlled lighting, and a more passive interaction with anyone looking at it.

Jewelry moves with the person through different settings, lighting, times of day.

Jewelry sits on different body shapes.

Jewelry must function in many different contexts.

Jewelry serves many different purposes.

People use and understand colors using their senses.

These perceptions among wearer, viewer and designer include:

(1) The Sensation Of Color Balance
(2) The Sensation Of Color Proportions
(3) The Sensation Of Simultaneous Color Contrasts

Better designers are able to manage these sensations. They do so, in major part, by relying on a series of color sensation management tools.

We review these in great detail in this course.

In this course, you will learn some critical skills for jewelry designers that you will want to know…
• How to pick colors for jewelry, and how this differs from picking colors as a painter
• How to adapt basic color concepts in art when making jewelry
• How to recognize the differences between universal responses to color from the more typical subjective ones, and what better designers do about this

• How to manage the sensation of color within your pieces to achieve your designer goals

You will learn to make smart choices about color when designing and making jewelry.

9 Video Lessons (approximately 80 minutes)
8 Exercises
1 Article (40-pages)
$45.00 enrollment

Check this out and view the free Preview!




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–>


VISIT MY ONLINE SCHOOL

26638c3f-adf4-4d3c-aff0-8d4529779d08.jpg

Learn to Think and Speak and Work
Like a Jewelry Designer!



As always, we look forward to seeing you.


Stay safe and healthy.

Warren

www.warrenfeldjewelry.com

Posted in architecture, Art or Craft?, art theory, bead weaving, beads, beadwork, color, creativity, design management, design theory, design thinking, jewelry design, jewelry making, Learn To Bead, professional development, Stitch 'n Bitch, Workshops, Classes, Exhibits | Leave a Comment »

MY ONLINE VIDEO TUTORIALS: So You Want To Be A Jewelry Designer

Posted by learntobead on September 25, 2020

 


VISIT MY ONLINE SCHOOL

Learn to Think and Speak and Work
Like a Jewelry Designer!

Making and designing jewelry is fun, awesome, challenging and rewarding.  You enter a world full of inspiration, creativity, color, texture, construction, beauty and appeal.  With your jewelry, you impact the lives of many people as they go about their day, attend special events, or interact with friends, acquaintances and strangers.

As a jewelry designer, you have a purpose. Your purpose is to figure out, untangle and solve, with each new piece of jewelry you make, how both you, as well as the wearer, will understand your inspirations and the design elements and forms you chose to express them, and why this piece of jewelry is right for them.

Your success as a designer is the result of all these choices you make.   Our courses are here to help you learn and apply key insights about materials, techniques and the jewelry design process when making these kinds of choices.  We also introduce you to things you need to know when trying to conquer the creative marketplace.

Empower yourself to become fluent, flexible and original in jewelry design.

Enroll now.

Begin with our ORIENTATION TO BEADS & JEWELRY FINDINGS COURSE. For newbies just getting started, or experienced designers as a great refresher.

 


Everything People Wished They Had Known
Before They Started Beading and Making Jewelry!

We require all our students to take our ORIENTATION TO BEADS & JEWELRY FINDINGS class first, before taking any of our other classes.

I have created an updated, extended version of this class online, which you can register for.    The class is divided into 18 short video tutorials on such topics of seed and delica beads, metal beads, clasps, stringing materials, adhesives, miscellaneous findings, and the like.   There is a downloadable handout that accompanies each video segment.

19 lesson modules.   This class is $30.00.
You can find it online and register here.


 

16 Important Lessons I Learned Doing Craft Shows!

In this SO YOU WANT TO DO CRAFT SHOWS… video tutorial class, I discuss critical choices jewelry designers need to make when doing craft shows.  That means, understanding everything involved, and asking the right questions.

Learn How To…

…Find, Evaluate and Select Craft Shows Right For You

…Determine a Set Realistic Goals Right For You

…Compute a Simple Break-Even Analysis

…Best Ways to Develop Your Applications and Apply

…Understand How Much Inventory To Bring

…Best Promote and Operate Your Craft Show Business

 

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

 

19 lesson modules.  This class is $45.00.
You can find it online and register here.


 

Learn An Easy-To-Use Pricing Formula
and Some Marketing Tips
Especially Relevant for Jewelry Designers!

 

This PRICING AND SELLING YOUR JEWELRY course is about one key to success: SMART PRICING!

 

I share with you my knowledge, experiences and insights about…

(1) Why Jewelry Sells

(2) Three alternative pricing formulas used by jewelry makers and the jewelry industry

(3) A simple, mathematical formula for pricing your jewelry which I developed and prefer to use

(4) How to break down this mathematical pricing formula intoa series of easy to implement steps

 

Then, we practice applying the formula to some different pieces of jewelry.

At the end of the course, I discuss the differences among retail, wholesale and consignment.

I briefly discuss several key business strategies which are very related to pricing.

And I offer some final words of advice.

11 lesson modules.  This class is $35.00.
You can find it online and register here.

 


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 collecting, jewelry design, jewelry making, Learn To Bead, professional development, Resources, wire and metal, Workshops, Classes, Exhibits | Tagged: , , , , , , | Leave a Comment »