Archive for the ‘Workshops, Classes, Exhibits’ Category
Information about upcoming workshops and classes of interest to beaders and jewelry makers; information about gallery and museum exhibits also of interest
Success or Failure? Some of my jewelry design students’ experiences at business
I’d estimate that 25–30% of my students are in the jewelry making /design hobby to make some extra money. Some see a way to supplement their income. Some see it as a retirement strategy. Others see it as a career transition. Whatever their goals, some have been successful, and others less so. Here are some of their stories.
Cindy
Cindy saw it as a career transition. She made and sold jewelry, went to craft shows and church bazaars, put her stuff on consignment all over the metropolitan area, did home shows, whatever.
After about two to two-and-a-half years, she took the giant leap and quit her full-time legal aid job to be a full-time jewelry artist/entrepreneur. She was successful because she knew how to promote herself, and was very comfortable at this.
Her designs were fashion-current, but not bizarre. One business that had her stuff on consignment told me how great she was to work with.
My only concerns were that she often short-changed some of the quality of materials, and perhaps pushed the pricing a bit too high. But I marvel at her success. if you stick to it, and are confident in yourself, you’ll get there.
Mona
Mona refurbished old pieces into new. She took old brooches, fixed them up, restored missing stones, polished or colored damaged edges. …
QUESTION #5: When is enough enough? How does the jewelry artist know when the piece is done? Overdone? Or underdone? What is the evidence? How do you edit? What fix-it strategies do you come up with and employ?
In the bead and jewelry arenas, you see piece after piece that is either over-embellished or under-done. Things may get too repetitive with the elements and materials. Or the pieces don’t feel that they are quite there yet.
For every piece of jewelry there will be that point of parsimony when enough is enough. We want to find that point where experiencing the “whole” is more satisfying than experiencing any of the parts. That point of parsimony is where, if we added (or subtracted) one more thing, we would detract from the whole of our design.
Knowing that point of parsimony is also related to anticipating how and when others will judge the piece as finished and successful. And what to do about it when judged unfinished or unsuccessful.
Some jewelry designers are only interested in selling the occasional piece. Others want to create a steady flow of some extra income. Still others want to be financially self-sufficient as a jewelry designer.
Whatever your personal goal and commitment, can you make money? The answer is YES!… That is, if you are smart about it.
Your friends and relatives might tell you that jewelry design “Is not practical,” or a warning “Don’t quit your day job.”
I won’t lie to you. It’s tough. It requires commitment and perseverance. It requires some introverted skills and some extroverted skills. It requires managing a process which includes some creative elements and some business and administrative ones. But you can do it.
Question 4: Beyond applying basic techniques and selecting quality materials, how does the Jewelry Designer evoke an emotional and resonant response to their jewelry? What skill-sets do Designers need in order to think through powerful designs?
An artistic and well-designed piece of jewelry should evoke an emotional response. In fact, ideally, it should go beyond this a bit, and have what we call “resonance”. The difference between an emotional response and resonance is reflected in the difference between someone saying, That’s beautiful, from saying I need to wear that piece, or, I need to buy that piece.
Quite simply: If no emotional response, and preferably, resonance, is evoked, then the jewelry is poorly designed. Evoking an emotional and resonant response takes the successful selection and arrangement of materials, the successful application of techniques as well as the successful management of skills.
Unfortunately, beaders and jewelry makers too often focus on materials or techniques and not often enough on skills. It is important to draw distinctions here.
From Warren and Land of Odds Join my community of jewelry designers on myPatreon hub MAY 1, 2025 Sign up for a Free or Paid Subscription[Note: Paid Subscribers on Patreon Hub get 25% Off @Land of Odds]www.landofodds.comHi everyone, Some Updates and Things Happening. (Please share this newsletter)
Some Updates and Things Happening. (Please share this newsletter)
In this Issue: 1. Jewels of the Garden 2. HANDWORK: Celebrating American Craft 2026 3. Pearl Knotting…Warren’s Way, 2nd Edition Released 4. 64 Open Courses You Can Apply For 5. Your Artist Statement 6. Call for Entries: Workhouse Arts Center CLAY INTERNATIONAL 7. The Jewelry of Lesley Aine McKeown
Insects and fruits in adornment. What would jewelry be without them?
2. HANDWORK: Celebrating American Craft 2026
To join the celebration, please contact Jen Ruppmann (handwork@craftamerica.org) . Visit www.handwork2026.org for a full listing of participating organizations. 3. Pearl Knotting…Warren’s Way, 2nd Edition Released 184pp, many images and diagrams Ebook, Kindle or PrintClassic Elegance! Timeless! Architectural Perfection! Learn a simple Pearl Knotting technique anyone can do. No special tools. Beautiful. Durable. Wearable.In this very detailed book, with thorough 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. 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.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.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 themPearl Knotting doesn’t need to be this hard. By the end of Pearl Knotting…Warren’s Way, you will have mastered hand-knotting pearls. RE: Second EditionThis second edition takes into account a fuller utilization of technical options for the E-book version. Additional information, clarifications and summaries of ideas are added throughout. Instructions for Variation #3: Using Clam Shell Bead Tips is simplified a little bit.184pp, many images and diagrams Ebook, Kindle or Print
4. 64 Open Courses You Can Apply ForWhen jewelry making is your passion…
5. Your Artist Statement 📝 Your Artist Statement isn’t about you—it’s about the work.
Curators are looking for clarity, context, and commitment.
A strong artist statement clearly explains what your work is about, what drives it, and why it matters—without over-intellectualizing.
Avoid vague phrases like “exploring the liminal space…” unless you can explain exactly what that means.
Your bio, on the other hand, is your professional snapshot. Lead with location, education, exhibitions, and press—keep it factual and recent.
6. Call for entries, Workhouse Arts Center CLAY INTERNATIONAL
READ THE PROSPECTUS HERE 7. The Jewelry of Lesley Aine McKeownVisit her website “Creating is a process constantly in motion, one that keeps the maker searching for balance. I hope to create work that provokes thought. Bordering between sculpture and jewelry each is thoughtful in design and construction representing a meaning deeper than aesthetics.”“I am fascinated with juxtaposition and fluidity of materials. My work is about exploring the aspects of ephemeral impressions and the urbanity of metal. I use precious metals, stones and alternative materials to explore these expressions.”Using low-tech traditional metal smithing techniques and tools, each piece is created in Lesley’s studio in the tradition of the American Studio Art Jewelry movement of the 1940’s through the 60’s, which dictates that the work is created entirely in the artist’s studio. Her work is hand fabricated using recycled metals and ethically, sustainably-mined gemstones.
Promote your current projects, promotional copy, News & Views, videos, reels, tutorials, instructions, social media posts online in this newsletter and on our jewelry designers’ Patreon hub.
No deadlines! Opportunity available all the time. No fees.
But don’t wait to take advantage of this opportunity. This copyrighted material is published here with permission of the author(s) as noted, or with Land of Odds or Warren Feld Jewelry. All rights reserved.Repairs Stumping You? Let Me Take A Look I take in a lot of jewelry repairs. People either bring them to me in Columbia, TN, or, I pick them up and deliver them back in Nashville. I am in Nashville at least once a week. It’s been convenient for most people to meet me at Green Hills Mall. But if not, I can come to your workplace or your home. This is perfectly fine for me. My turnaround time typically is 3-4 weeks.
I do most repairs, but I do not do any soldering. I also do not repair watches. These are the kinds of repairs I do:
o Beaded jewelry o Pearl knotting, hand knotting o Size/Length adjustment o Re-stringing o Wire work/weave/wrap o Micro macrame o Broken clasp replacfement o Earring repair o Replace lost rhinestones or gemstones o Stone setting o Stretchy bracelet o Metal working which does not involve soldering o Bead woven jewelry and purses o Beaded clothing o Custom jewelry design
WARREN FELD JEWELRY (www.warrenfeldjewelry.com) Custom Design, Workshops, Video Tutorials, Webinars, Coaching, Kits, Group Activities, Repairs ~~~~~~~~~~~~~~~~~~~~~~~ Join our community of jewelry designers on myPatreon hub Be part of a community of jewelry designers who recognize that we have a different way of thinking and doing than other types of crafters or artists. One free downloadable Mini-Lesson of your choice for all new members! ~~~~~~~~~~~~~~~~~~~~~~~
Add your email address to my Warren Feld Jewelry emailing listhere.
Thanks for being here. I look forward to sharing more resources, tips, sources of inspiration and insights with you.Join A Community Of Jewelry Designers On MyPatreon Hub
Although some jewelry designers may feel uneasy mixing art with business, for most it is a necessity. Yet, you do not have to sacrifice wonder for reality. Most designers sell their pieces, so recognizing the things about coordinating art with business becomes very important.
When approaching stores or galleries to display and sell your pieces, it is critical that the designer understand how these venues function, who their audiences are, and what the attendant risks to them are, should they decide to exhibit and/or sell your pieces.
The first step is to be your authentic, passionate self. Your jewelry will not speak for itself. So, in spite of any feelings of vulnerability you might have when approaching stores and galleries, you will need to talk about yourself and your jewelry. You do not want to feel “salesy” when speaking with business or gallery owners and representatives. You do not want to feel pushy. Or desperate. But you do want them to get to Yes.
QUESTION 3: What kinds of MATERIALS work well together, and which ones do not? This applies to TECHNIQUES as well. What kinds of TECHNIQUES (or combinations of techniques) work well when, and which ones do not?
A successful jewelry design has a character of its own as well as some kind of evocative essence. Let’s call this a tone. The choice of materials, including beads, clasps, and stringing materials, and the choice of techniques, including stringing, weaving, wire working, glassworks, metalworks, clayworks, cements that tone into place. Techniques link the designer’s intent with the client’s expectations. The successful designer has a depth of knowledge about materials, their attributes, their strengths, their weaknesses, and is able to leverage the good and minimize the bad within any design. The same can be said of techniques.
The choice of materials and the choice of techniques set the tone and chances of success for your piece. Materials and techniques establish the character and personality of your designs. They contribute to understandings whether the piece is finished and successful.
However, there are no perfect materials (or techniques) for every jewelry project. Selecting materials (or techniques) is about making smart, strategic choices. This means relating your choices to your design and marketing goals. It also frequently means having to make tradeoffs and judgment calls between aesthetics and functionality. Last, materials (or techniques) may have different relationships with the designer, wearer or viewer depending on how they are intended to be used, and the situational or cultural contexts….
A Multi-Venue Approach Towards The Creative Marketplace
Successful jewelry designers are able to get the visibility and legitimacy they want and deserve. They know what to expect when exposing their work publicly within the creative marketplace.
They are good at communicating their ideas and their value, when approaching art and craft show vendors, stores and boutiques, galleries, and buyers and collectors, or applying for art grants or doing demonstrations. They are able to get articles written about them in blogs, newspapers, magazines and jewelry editorials. And, very importantly, they use a multi-venue approach (diversification) when introducing their jewelry into the marketplace. At a minimum, this multi-venue approach will include both an on-line strategy and a bricks-and-mortar strategy.
Many people learn beadwork and jewelry-making in order to sell the pieces they make. Based both on the creation and development of my own jewelry design business, as well as teaching countless students over the past 35+ years about business and craft, I want to address what should be some of your key concerns and uncertainties. I want to share with you the kinds of things (specifically, a business mindset and confidence) it takes to start your own jewelry business, run it, anticipate risks and rewards, and lead it to a level of success you feel is right for you. I want to help you plan your road map.
I will explore answers to such questions as: How does someone get started marketing and selling their pieces? What business fundamentals need to be brought to the fore? How do you measure risk and return on investment? How does the creative person develop and maintain a passion for business? To what extent should business decisions affect artistic choices? What similar traits to successful jewelry designers do those in business share? How do you protect your intellectual property?
The major topics covered include,
1. Integrating Business With Design
2. Getting Started
3. Financial Management
4. Product Development, Creating Your Line, and Pricing
5. Marketing, Promotion, Branding
6. Selling
7. Professional Responsibilities and Strategic Planning
8. Professional Responsibilities and Gallery / Boutique Representation
9. Professional Responsibilities and Creating Your Necessary Written Documents
QUESTION 2: How do you decide what you want to create? What kinds of things do you do to translate your passions and inspirations into jewelry? What is your creative process?
Applying yourself creatively can be fun at times, but scary at other times. It is work. You are creating something out of nothing. There is an element of risk. You might not like what you end up doing. Your friends might not like it. Nor your family. You might not finish it. Or you might do it wrong. It may seem easier to go with someone else’s project.
Applying creativity means developing abilities to generate options and alternatives, and narrowing these down to specific choices. It means developing an ease and comfort generating fix-it strategies when approaching unknown situations or problematic ones. It means figuring out how to translate inspiration into design in a way that inspires others and taps into their desires. It means differentiating yourself from other jewelry designers as a measure of your originality.
Classic Elegance! Timeless! Architectural Perfection! Learn a simple Pearl Knotting technique anyone can do. No special tools. Beautiful. Durable. Wearable.
In this very detailed book, with thorough 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. 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.
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.
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
Pearl Knotting doesn’t need to be this hard. By the end of Pearl Knotting…Warren’s Way, you will have mastered hand-knotting pearls.
RE: Second Edition
This second edition takes into account a fuller utilization of technical options for the E-book version. Additional information, clarifications and summaries of ideas are added throughout. Instructions for Variation #3: Using Clam Shell Bead Tips is simplified a little bit.
Some Updates and Things Happening. (Please share this newsletter)
In this Issue: 1. How to use AI in your jewelry business 2. Some pointers about the design of your website 3. Take Some Time To Celebrate Yourself! 4. Jewelry in the news 5. Simplify your INSTAGRAM feed — some tips 6. FLUENCY IN JEWELRY DESIGN: Fluency and Empowerment
Here are nine AI-driven strategies to boost your bottom line.
1. Personalized recommendations. AI analyzes customer behavior, such as purchase history, browsing behavior, and interactions with the brand. It then suggests relevant products, such as a “complete your look” feature at checkout, which increases sales and engagement.
2. Virtual try-ons. Augmented reality, powered by AI, is transforming the jewelry shopping experience. Virtual try-ons allow customers to see how a piece of jewelry would look on them without ever visiting the store, offering more confidence in their purchasing decisions.
3. Inventory management. Predictive analytics can take the guesswork out of inventory management by forecasting demand. This ensures you neither overstock nor run out of high-demand items, which leads to better resource allocation and cost savings.
4. Customer service chatbots. AI chatbots provide instant 24/7 support, freeing staff for in-store interactions. It’s important, however, to have a process in place for a smooth handoff to a human representative to resolve more complex issues.
5. Visual search. Customers can upload an image to find similar jewelry in your inventory, making discovery seamless.
6. Dynamic pricing optimization. AI can optimize your pricing strategy by suggesting pricing adjustments, in real-time, based on competitor rates, demand, and sales trends to maximize profits.
7. Product photography enhancement. AI-powered tools can automatically enhance product images, ensuring consistency and high quality across all visuals. Additionally, 360-degree views of jewelry pieces can be created, allowing customers to examine items from every angle.
8. Appraisal assistance. AI streamlines jewelry appraisals with data-driven valuations, reducing errors and increasing accuracy.
9. PRODUCT DESCRIPTIONS. AI can significantly improve the quality of your product descriptions by translating industry jargon into customer-friendly language. Many shoppers are unfamiliar with terms like “14KWG” and would prefer a description that simply says, “14 karat white gold.” Clear, well-crafted descriptions make it easier for shoppers to purchase with confidence
So how can you get started? Identify your business needs (e.g., design, marketing, customer service, logistics) and explore AI tools already integrated into your existing e-commerce, CRM, or design software. Many platforms offer free trials or demos.
2. Some pointers about the design of your website
With the availability of chatgpt and other ai applications, it has become ever more difficult to do a Search Engine Optimization (SEO) on your website and compete. Every new or upgraded website will have done this making it as difficult as ever to depend on someone doing a search engine search and finding you.
This means that the look and feel of your website will become its biggest asset.
Some things to think about:
Use your website as a portfolio, rather than a sales tool.
Keep your website clean and focused on your credibility.
Don’t worry about accommodating Google’s ranking and rating search criteria
Rely more on social media, like Instagram, and on email to drive traffic to your site
Large, high resolution impactful photos on your landing page is ideal
Use larger fonts, black type on white background works best
If listing collections on your landing page, also include a short description with each one
BE SURE: It’s easy to find how to contact you
3. Take Some Time To Celebrate Yourself
When was the last time this year you paused and looked back to celebrate the little wins — or the big ones?
It’s so easy to get caught up on doing, doing, doing… without pause.
At least once a week, sit down in a familiar place, relax, and reflect.
And celebrate yourself!
4. Jewelry In the News
o MUNICH JEWELLERY WEEK TO RELOCATE TO ALASKA IN 2026 In an effort to fight global warming, the biggest global event in art jewelry will be permanently held in Anchorage. There’s a positive side to it: “Big, heavy parkas are a great surface for displaying brooches,” stated Frau Brosche, a press officer from the Internationale Handwerksmesse.
Bespoke abacus yellow gold ring with yellow sapphire, designed and made by Tamara Gomez, photo courtesy of the artist
o SMITHSONIAN TO OPEN MUSEUM OF THE AMERICAN ART JEWELER The institution will join the Air and Space and Hirshhorn museums on the National Mall in Washington, DC. Yvonne Montoya, AJF’s former executive director, has been appointed its director. “Pforzheim and Espace Solidor won’t get all the glory,” vows Montoya.
Called Scrambled Head with Glimmer of Hope, this Tamara Gomez statement ring is made with diamond, moissanite, 14-karat yellow gold, and sterling silver, photo courtesy of the artist
o NEW EXHIBITION — FOLLOW YOUR NOSE: SEPTUM RINGS OF THE POWERFUL “With this type of piercing,” said curator Naz Schnozz, “you can wear a retainer that flips up inside the nostrils. That means the public doesn’t know you have a septum ring.” Many are familiar with Madeleine Albright as a diplomat who spoke with her brooches, “but few realize she wore a septum ring in private,” added Schnozz. Besides Albright’s jewelry, the traveling exhibit features pieces worn by Angela Merkel, Emmanuel Macron, and Michelle Obama. Coming soon to a museum near you!
The 18-karat gold Cherrybomb ring with sapphires, diamonds, and tourmalines, designed and crafted by Aishleen Lester, photo courtesy of the artist
o KIM KARDASHIAN APPLIES TO JEWELRY MASTERS PROGRAMS She’s already done shapewear, fragrance, makeup, investing. In 2011 Kardashian launched a line of costume jewelry that let fans accessorize like her at an affordable price, but it flopped. The reality star attributed this to the baubles being kind of “basic.” Enrolling in a master’s jewelry program “will hone my understanding of jewelry theory,” says the influencer, “and help me create designs that are more critical of the beauty industry. That’s what my fans really want.” Kardashian hopes to start classes this fall and looks forward to dialog with instructors and fellow students.
Hugo Luis Johnson’s white gold and silver violin won Silver at the 2021 Goldsmiths’ Craft and Design Council Awards, photo courtesy of the artist
o ADRIAN BRODY DESIGNS LINE OF CONCRETE ART JEWELRY “My stylist has had me wearing brooches on the red carpet,” says the actor, “Her choices are pretty conventional high pieces, but they gave me an interest in jewelry as a medium. Then filming The Brutalist made me want to design my own. I asked a local contractor to show me how to make little molds and mix the cement.” Find the pieces in the MOMA gift shop.
5. Simplify your INSTAGRAM feed — some tips
📱 Simplify your Instagram feed to attract more followers.
Avoid adding text directly on images. Keep your jewelry as the main visual and use captions or separate slides for text.
If you need to include text or promotional material, make it the last slide rather than the cover image.
Promotional content, like event details or newsletter sign-ups, works better in Instagram Stories instead of your feed.
A clean, cohesive feed makes your art look more appealing and increases the likelihood of organic followers staying and engaging with your work.
📈 Boost Instagram engagement by showcasing your process.
While personal moments add depth, prioritize close-up shots of your jewelry making process, selecting materials, implementing techniques, choosing colors and other design elements. These are visually engaging & highlight skill.
Instead of vague captions, explain why your jewelry is unique. Share insights about your techniques, inspirations, and creative decisions to draw in your audience.
Start reels with attention-grabbing text like “This transformed my jewelry making” or “Here’s how I create rythm” to keep viewers watching.
Experiment with a series of reels following the same engaging format, such as “How I make jewelry [subject],” to create familiarity and encourage followers to return.
NOTE: Instagram’s algorithm now prioritizes content discovery through the Explore page and recommendations rather than hashtags.
6. FLUENCY IN JEWELRY DESIGN: Fluency and Empowerment
The fluent jewelry designer is able to think like a designer. The jewelry designer is more than a craftsperson and more than an artist. The jewelry designer must learn a specialized language, and specialized way of balancing the needs for appeal with the needs for functionality. The jewelry designer must intimately recognize and understand the roles jewelry plays for individuals as well as the society as a whole. The designer must learn how art, architecture, physical mechanics, engineering, sociology, psychology, context, even party planning, all must come together and get expressed at the point where jewelry meets the boundary of the person, that is, as the jewelry is worn.
And to gain that fluency, the designer must commit to learning a lot of vocabulary, ideas and terms, and how these imply content and meaning through expression. The designer will need to be very aware of personal thoughts and thinking as these get reflected in all the choices made in design. The designer will have to be good at anticipating the understandings and judgements of many different audiences, including the wearer, viewer, seller, buyer, exhibitor, client, collector, teacher and student.
With fluency comes empowerment. The empowered designer has a confidence that whatever needs to be done, …
9/15/2025–10/15/2025 Art Jewelry Exhibit at Pryor Gallery, Columbia State Community College My pieces will be showcased an this exhibit. In the works is a possible Seminar and a beading workshop.
WARREN FELD JEWELRY (www.warrenfeldjewelry.com) Custom Design, Workshops, Video Tutorials, Webinars, Coaching, Kits, Group Activities, Repairs ~~~~~~~~~~~~~~~~~~~~~~~ Join our community of jewelry designers on my Patreon hub Be part of a community of jewelry designers who recognize that we have a different way of thinking and doing than other types of crafters or artists. One free downloadable Mini-Lesson of your choice for all new members! ~~~~~~~~~~~~~~~~~~~~~~~
There are lots and lots of places for selling your jewelry. These include,
1. Wear It and Sell It
2. To Friends, Family and Work-Mates
3. Retail and Wholesale Stores
4. Consignment Shops
5. Art and Crafts Fairs, Flea Markets, Bazaars
6. Jewelry Parties, Home Shows
7. Trunk Shows
8. Galleries
9. Online
10. Catalogs
As well as through Trade Shows, TV and Radio, Webcasts, Through Sales Reps and Agencies, and many more options for profitable venues.
1. Wear it and Sell It
Yes, people do buy jewelry off your back, so to speak. You might be standing in line at the supermarket. Or attending a concert. Or sitting in the shade at a table in a local park. People will come up to you, marvel at your jewelry, and ask if they can buy it.
So, wear your favorite pieces and flaunt them.
2. To Friends, Family and Work-Mates
Arrange showings of your jewelry with friends, families and people you work with. They know you, and you know them….
____________________________________________________________________ Conquering The Creative Marketplace
Many people learn beadwork and jewelry-making in order to sell the pieces they make. Based both on the creation and development of my own jewelry design business, as well as teaching countless students over the past 35+ years about business and craft, I want to address what should be some of your key concerns and uncertainties. I want to share with you the kinds of things (specifically, a business mindset and confidence) it takes to start your own jewelry business, run it, anticipate risks and rewards, and lead it to a level of success you feel is right for you. I want to help you plan your road map.
I will explore answers to such questions as: How does someone get started marketing and selling their pieces? What business fundamentals need to be brought to the fore? How do you measure risk and return on investment? How does the creative person develop and maintain a passion for business? To what extent should business decisions affect artistic choices? What similar traits to successful jewelry designers do those in business share? How do you protect your intellectual property?
The major topics covered include,
1. Integrating Business With Design
2. Getting Started
3. Financial Management
4. Product Development, Creating Your Line, and Pricing
5. Marketing, Promotion, Branding
6. Selling
7. Professional Responsibilities and Strategic Planning
8. Professional Responsibilities and Gallery / Boutique Representation
9. Professional Responsibilities and Creating Your Necessary Written Documents
Question 1: Should BEADWORK and JEWELRY MAKING be considered ART or CRAFT or DESIGN?
The jewelry designer confronts a world which is unsure whether jewelry is “craft” or “art” or its own special thing I’ll call “design”. This can get very confusing and unsettling. Each approach has its own separate ideas about how the designer should think, speak, work, and how he or she should be judged.
CRAFT: When defined as “craft,” jewelry is seen as something that anyone can do — no special powers are needed to be a jewelry designer. Design is seen as a step-by-step process, almost like paint-by-number. Designers color within the lines. The craft piece or project has functional value but limited aesthetic value. As “craft”, there is somewhat of a pejorative meaning — it’s looked down upon, thought of as something less than art.
If following the Craft Approach, the designer would learn a lot of techniques and applications in a step-by-step fashion. The designer, based on their professional socialization into Craft, would assume that:
a) The outlines and the goals of any piece or project can be specified in a clear, defined way.
b) Anyone can do these techniques.
c) There is no specialized knowledge that a designer needs to know beyond how to do these step-by-step techniques and applications.
d) If a particular designer has a strong sense of design, this is something innate and cannot be learned or taught.
e) There is little need to vary or adapt these techniques and applications.
f) The primary goal is functionality.
g) There are no consequences if you have followed the steps correctly.
As “craft”, we still recognize the interplay of the artist’s hand with the piece and the storytelling underlying it. We honor the technical prowess. People love to bring art into their personal worlds, and the craftsperson offers them functional objects which have some artistic sensibilities.
ART: When defined as “art”, jewelry is seen as something which transcends itself and its design. It is not something that anyone can do without special insights and training. The goal of any project would be harmony with a little variety, and some satisfaction and approval.
SO YOU WANT TO BE A JEWELRY DESIGNER Merging Your Voice With Form
So You Want To Be A Jewelry Designer reinterprets how to apply techniques and modify art theories from the Jewelry Designer’s perspective. To go beyond craft, the jewelry designer needs to become literate in this discipline called Jewelry Design. Literacy means understanding how to answer the question: Why do some pieces of jewelry draw your attention, and others do not? How to develop the authentic, creative self, someone who is fluent, flexible and original. How to gain the necessary design skills and be able to apply them, whether the situation is familiar or not.
Often Unexpected, Always Exciting: Your First Jewelry Sale
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, while you are filling your cart in the grocery store, someone offers to buy a piece you are wearing, and the rest is history. A sale! Sold! They paid so much more than it cost you! Right off your 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 approached in various stores around town by women who wanted to buy the pieces around her 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 kept upping her prices each time, and no one had yet to blink!
Jona had made many things before, but had never sold anything. Then…
Many people learn beadwork and jewelry-making in order to sell the pieces they make. Based both on the creation and development of my own jewelry design business, as well as teaching countless students over the past 35+ years about business and craft, I want to address what should be some of your key concerns and uncertainties. I want to share with you the kinds of things (specifically, a business mindset and confidence) it takes to start your own jewelry business, run it, anticipate risks and rewards, and lead it to a level of success you feel is right for you. I want to help you plan your road map.
I will explore answers to such questions as: How does someone get started marketing and selling their pieces? What business fundamentals need to be brought to the fore? How do you measure risk and return on investment? How does the creative person develop and maintain a passion for business? To what extent should business decisions affect artistic choices? What similar traits to successful jewelry designers do those in business share? How do you protect your intellectual property?
The major topics covered include,
1. Integrating Business With Design
2. Getting Started
3. Financial Management
4. Product Development, Creating Your Line, and Pricing
5. Marketing, Promotion, Branding
6. Selling
7. Professional Responsibilities and Strategic Planning
8. Professional Responsibilities and Gallery / Boutique Representation
9. Professional Responsibilities and Creating Your Necessary Written Documents
The fluent jewelry designer is able to think like a designer. The jewelry designer is more than a craftsperson and more than an artist. The jewelry designer must learn a specialized language, and specialized way of balancing the needs for appeal with the needs for functionality. The jewelry designer must intimately recognize and understand the roles jewelry plays for individuals as well as the society as a whole. The designer must learn how art, architecture, physical mechanics, engineering, sociology, psychology, context, even party planning, all must come together and get expressed at the point where jewelry meets the boundary of the person, that is, as the jewelry is worn.
And to gain that fluency, the designer must commit to learning a lot of vocabulary, ideas and terms, and how these imply content and meaning through expression. The designer will need to be very aware of personal thoughts and thinking as these get reflected in all the choices made in design. The designer will have to be good at anticipating the understandings and judgements of many different audiences, including the wearer, viewer, seller, buyer, exhibitor, client, collector, teacher and student.
With fluency comes empowerment. The empowered designer has a confidence that whatever needs to be done, or whatever must come next, the designer can get through it. Empowerment is about making and managing choices. These choices could be as simple as whether to finish a piece or not. Or whether to begin a second piece. Or which materials or techniques should be used. The designer will make choices about how to draw someone’s attention to the piece, or present the piece to a larger audience. She or he may decide to submit the piece to a magazine or contest. She or he may want to sell the piece and market it. The designer will make choices about how a piece might be worn, or who might wear it, or when it might be worn, in what context.
And for all these choices, the jewelry designer might need to overcome a sense of fear, boredom, or resistance. The designer might need to overcome anxiety, a sense of giving up, having designer’s block, feeling unchallenged, and even laziness.
In order to make better artistic and design choices, the Fluent and Empowered Jewelry Designer should have answers to 5 critical questions.
SO YOU WANT TO BE A JEWELRY DESIGNER Merging Your Voice With Form
So You Want To Be A Jewelry Designer reinterprets how to apply techniques and modify art theories from the Jewelry Designer’s perspective. To go beyond craft, the jewelry designer needs to become literate in this discipline called Jewelry Design. Literacy means understanding how to answer the question: Why do some pieces of jewelry draw your attention, and others do not? How to develop the authentic, creative self, someone who is fluent, flexible and original. How to gain the necessary design skills and be able to apply them, whether the situation is familiar or not.
From Warren and
“I am fascinated with juxtaposition and fluidity of materials. My work is about exploring the aspects of ephemeral impressions and the urbanity of metal. I use precious metals, stones and alternative materials to explore these expressions.”
Using low-tech traditional metal smithing techniques and tools, each piece is created in Lesley’s studio in the tradition of the American Studio Art Jewelry movement of the 1940’s through the 60’s, which dictates that the work is created entirely in the artist’s studio. Her work is hand fabricated using recycled metals and ethically, sustainably-mined gemstones.
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Thanks for being here. I look forward to sharing more resources, tips,
