Distinguishing Your Work

I think many – if not most – artists/artisans struggle for ways to distinguish themselves – make their work/”businesses” distinct and “relevant” (if I can use that term) in today’s world.  That said, here a few thoughts I developed for friends on Etsy that I would like to share with you as well:

"Classic Series" Coffee Grinder

"Classic Series" Coffee Grinder; cocobolo, french-polish, commercial mechanism, lathe-turned; 13 x 5 inches (33 x 12cm)

- First:  Focus on delivering sterling service to your patrons! Notice I said “patrons” not “customers.” Those who buy from you are the most important people in the world next to your family. (Hey, they’re the ones who put their money on the line for your work, which pays the bills!) View them as such, treat them as such and they will reward you with their patronage.
(Another thing: when patrons have a complaint/comment about your work, be gracious. Remember: one ‘awe shucks’ is worth a hundred ‘attaboys/attagirls’ (“The customer is always right” – Marshall Field; “even when s/he’s wrong” – Brad.)

- Second, write – and stick to – a business plan (there are plenty of resources on the web to help you, if you – like many – aren’t sure how to write one.)

- Third, as part of your business plan, look at all reasonable venues for selling your work: art/craft shows (juried, high-end shows are usually best – just look carefully at what’s being sold, show history, etc. before entering) and art galleries (again tough, but very profitable, when you find the right ones) in addition to online sales. Just recognize that online selling (Etsy, eBay, et al.) has particular challenges. By that I mean: (a) your photos and descriptions have to sell work work. That’s a very different – and much harder to make – proposition than having (say) a booth at an art/craft show where patrons can see and touch before deciding to buy. (b) Establishing your credibility as a serious artist/artisan is essential. Your patrons need to view everything about your shop as “quality.” That means not only your photos and descriptions, but your shop layout, banner, policies, pricing, reviews, everything(!) must quietly, but firmly say, “I’m a pro – and I’m here to stay.” There are numerous resources to help you with that as well.
-3a: According to Invespblog, 80% of online sales occur outside the U.S. – word to the wise: consider paying special attention to potential international patrons – show dimensions in metric as well as English units, set shipping options accordingly, etc.

-Fourth, get a shop critique from an expert. You will probably have to pay a nominal amount – and some of what your hear might tough to swallow; but pay attention and take the expert’s advice. You’ll be glad you did.

-Fifth, always, always, always strive for improvement.  (They don’t need to be “big” improvements – small, (even tiny) incremental improvements are often best.)  (a) Set targets to increase both the quality and quantity of your work. Try – for example – to increase your production by (say) 15% over last year. (Counterproductive, you might say; but the evidence from every professional artist/artisan I know suggests that the more original work you produce, the better – and faster – you become). (b) Work to improve your product descriptions to make your work more attractive to potential patrons; (c) similarly, look for ways to improve your product photos. In short: NEVER be satisfied with where you are. ALWAYS look for little ways to improve!

-Sixth, to point 5: become an expert in your craft. The best way I know is to teach it. Community colleges, craft stores and craft shows are always looking for people to demonstrate, hold workshops, etc. to show people how you produce your amazing work!  Compile a portfolio of your work, research and make a list of all likely places where you might demonstrate and go visit each one IN PERSON.  Never, ever call in advance or follow “submission guidelines” (EXCEPT when applying to juried art shows!  In those cases, not following the rules WILL get you disqualified!) Otherwise, “rules” are simply ways curators, store owners, et al. use to keep “vendors/salespeople” away. When a college, store, or gallery is interested in your work, those “rules” go out the window.  Instead, go in the door, go up to the first employee you see (receptionist or whomever), hand them your portfolio (I guarantee they’ll take it!) and ask for two minutes to show it to them. Expect that 4 out of 5 will say “no” – but that’s OK. Thank them (graciously) for their time and go on to the next place.

-Seventh – join a like-minded group of artists/artisans and go to their meetings.  Here in PA we are fortunate to have the Pennsylvania Guild of Craftsmen, an incredible group, by the way, but there are others out there.  Find one in your area and become active.  The idea is to share experiences, techniques, etc.  Personal interaction is wonderful “therapy.”

-Finally, be patient – but work like heck while you’re patient. As was remarked above: it takes 3 – 5 years (on average) for a business to turn a steady profit – but that happens ONLY if you work at it. I spend 70 – 80 hours a week working on my business – far more than I ever spent working in private industry.  But I love – indeed I am passionate about – what I do.

I hope you are too.

-Brad

18th Century-style Candlesticks

18th Century-style Candlesticks; English Walnut, Black Walnut, French-Polish, Lathe-turned; 10 x 4 inches (25 x 10cm)

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Columbine Student’s Father – 12 Years Later

The following might not be popular.  It certainly is not “politically correct.” It was forwarded to me by a friend.  I’m taking the liberty of passing it along verbatim.

On Thursday, Darrell Scott, the father of Rachel Scott, a victim of the Columbine High School shootings in Littleton, Colorado, was invited to address the House Judiciary Committee’s subcommittee. What he said to our national leaders during this special session of Congress was painfully truthful.

They were not prepared for what he was to say, nor was it received well. It needs to be heard by every parent, every teacher, every politician, every sociologist, every psychologist, and every so-called expert! These courageous words spoken by Darrell Scott are powerful, penetrating, and deeply personal. There is no doubt that God sent this man as a voice crying in the wilderness. The following is a portion of the transcript:

“Since the dawn of creation there has been both good & evil in the hearts of men and women. We all contain the seeds of kindness or the seeds of violence. The death of my wonderful daughter, Rachel Joy Scott, and the deaths of that heroic teacher, and the other eleven children who died must not be in vain. Their blood cries out for answers.

“The first recorded act of violence was when Cain slew his brother Abel out in the field. The villain was not the club he used.. Neither was it the NCA, the National Club Association. The true killer was Cain, and the reason for the murder could only be found in Cain’s heart.

“In the days that followed the Columbine tragedy, I was amazed at how quickly fingers began to be pointed at groups such as the NRA. I am not a member of the NRA. I am not a hunter. I do not even own a gun. I am not here to represent or defend the NRA – because I don’t believe that they are responsible for my daughter’s death. Therefore I do not believe that they need to be defended. If I believed they had anything to do with Rachel’s murder I would be their strongest opponent

I am here today to declare that Columbine was not just a tragedy — it was a spiritual event that should be forcing us to look at where the real blame lies! Much of the blame lies here in this room. Much of the blame lies behind the pointing fingers of the accusers themselves. I wrote a poem just four nights ago that expresses my feelings best.

Your laws ignore our deepest needs,

Your words are empty air.
You’ve stripped away our heritage,
You’ve outlawed simple prayer.
Now gunshots fill our classrooms,
And precious children die.
You seek for answers everywhere,
And ask the question “Why?”
You regulate restrictive laws,
Through legislative creed.
And yet you fail to understand,
That God is what we need!

“Men and women are three-part beings. We all consist of body, mind, and spirit. When we refuse to acknowledge a third part of our make-up, we create a void that allows evil, prejudice, and hatred to rush in and wreak havoc. Spiritual presences were present within our educational systems for most of our nation’s history. Many of our major colleges began as theological seminaries. This is a historical fact. What has happened to us as a nation? We have refused to honor God, and in so doing, we open the doors to hatred and violence. And when something as terrible as Columbine’s tragedy occurs — politicians immediately look for a scapegoat such as the NRA. They immediately seek to pass more restrictive laws that contribute to erode away our personal and private liberties. We do not need more restrictive laws. Eric and Dylan would not have been stopped by metal detectors. No amount of gun laws can stop someone who spends months planning this type of massacre. The real villain lies within our own hearts.

“As my son Craig lay under that table in the school library and saw his two friends murdered before his very eyes, he did not hesitate to pray in school. I defy any law or politician to deny him that right! I challenge every young person in America  and around the world, to realize that on April 20, 1999, at Columbine High School prayer was brought back to our schools. Do not let the many prayers offered by those students be in vain. Dare to move into the new millennium with a sacred disregard for legislation that violates your God-given right to communicate with Him. To those of you who would point your finger at the NRA — I give to you a sincere challenge.. Dare to examine your own heart before casting the first stone!
My daughter’s death will not be in vain! The young people of this country will not allow that to happen!” – Darrell Scott

 

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Why Woodturning?

While completing the Jurying Application for the Lehigh Valley Guild of Craftsmen, I wrote the following in answer to the question: “Please explain the process of your craft and describe your background.” I hope you enjoy this answer.

Starting with a piece of raw wood resembling “firewood” rescued from local trees destined burning or reduction to mulch – or sustainably-harvested blocks of exotic wood purchased from FDA-certified companies, I craft a variety of beautiful, functional art and fine craft on a wood lathe.  Some works are “rough-turned” to their approximate shape and allowed to air dry for 6 months or more before being re-mounted on the lathe and “finish-turned” to their final shapes and dimensions.  Others, made from wood already “dry,” are turned to completion in a single session.

I try to put thought into the design and execution of my work so that it performs its intended function as flawlessly as I am capable of producing at the time:  components that come together with the fit and finish typically associated with a fine motorcar.  Woods appropriate to their intended application are selected so as to produce heirloom-quality work that will be treasured and hopefully passed down for generations to enjoy and treasure.

Do I always succeed?  Am I completely satisfied with my work?  The answer to both is: “no” – or perhaps more accurately, “heck no!”  I always look at ways to improve technically and artistically – in ways best summarized in the words of woodturning artist Cindy Drozda, who once remarked: “What’s my favorite work?  My last one.  What’s my BEST work?  My NEXT one!”

I am passionate about preserving our environment, thus all of my work is finished in eco-friendly materials.  Work intended for food contact, like fruit and salad bowls, is soaked in FDA-certified pure walnut oil, which penetrates the wood and hardens to form a durable, food-safe (what the FDA calls “GRAS” – “Generally Regarded As Safe”) finish.  Other work is finished using my adaptation of the classical “French-Polishing” technique, a process whereby thousands of micro-coats of eco-friendly shellac (which I compound myself using grain, as opposed to toxic denatured alcohol), walnut oil and pumice are carefully rubbed (“polished”) into the workpiece over periods ranging from days to, in some cases, weeks.  This process is my own adaptation of techniques perfected in the early 19th Century, which are arguably some of the most beautiful methods of finishing fine wood.

"Presentation Series" Coffee Grinder: Cocobolo, French-Polish

"Presentation Series" Coffee Grinder: Cocobolo, French-Polish

I have worked with wood seemingly my entire life.  Whether running a chainsaw to cut firewood to warm the house or crafting furniture, fine gunstocks, 18th Century reproduction powder horns and other work for personal use or sale, wood creates warmth in the soul.  However, it was through a basic woodturning class conducted by a fellow woodturner that I found my greatest satisfaction in “working wood.”  After being laid-off from corporate America about 2-1/2 years ago, and with his (and others’) encouragement, I turned (no pun intended) a woodturning hobby into a business that has become a source of immense – and growing – gratification.

The vibrancy and creativity of the American art scene – and the fine craft movement, particularly here in our home state of Pennsylvania – are sources of intense satisfaction and inspiration for me. I am honored to participate in both.

18th Century-Style Candlesticks in French-Polished Quilted Maple

18th Century-Style Candlesticks in French-Polished Quilted Maple

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Selling Fine Art/Fine Craft on Consignment

The American craft movement is an exciting, vibrant and amazing place to be!  Meeting the public at art and craft shows, explaining your work, selling on-line, and pursuing gallery and consignment sales can produce an incredible “high.”  It can also be a complete nightmare, if you’re unprepared.

One of the questions artists and fine craftspeople often ask is: how do I start selling to consignment shops and art galleries?  Having gone that route, here are some thoughts that might help with that question.

Having made the decision to pursue consignment sales,  it’s best to pick a market that has an “arts culture” that’s reasonably affluent, with lots of foot traffic.  A number of Pennsylvania towns like Lancaster, Bethlehem, Milford and others have days set aside for “Art Walks.”

Next, look for shops in your potential market that appeal to your medium (for example: artists and fine craftspeople might look at The Banana Factory in Bethlehem, Goggleworks in Reading, and so forth) and browse them in person (just don’t take any of your work on these visits – or expect to speak to someone about consignment just yet. Shop owners are busy people, who get unsolicited sales calls every day. Respect them and their time. You’ll stand out on that point alone.) Just ask for the manager’s business card, if the shop looks promising, and leave quietly.

Once you’ve selected some potential shops, send the manager/curator an email/letter describing your work, indicating your interest in consignment and attach professional-quality photos. Ask to set up an appointment. If they respond positively, then call and set up an appointment.

Once you get there, you’ll want to see their contract to make sure you’re OK with their terms and conditions – and that you feel comfortable around the folks with whom you’ll be working.  The latter point is key: you need to be confident in the people you’ll be working with.  A gallery can be your best friend, if you get along.  The lesson is: treat galleries and consignment shops like your best friends.  Contracts are vital, but if you get into a dispute (and have to go to the contract), you’ve already lost.

Finally – and this is huge – do NOT undersell the shops/galleries that display your work!  Realize the shop will take from 25% – 50% commission (hey, they need to eat, too!), so you need to price your work consistently across the board.  That means: if you sell an item for $200 in a gallery, it’s a big no-no to sell the same piece for $100 on Etsy.  It’s an article of faith in marketing circles that craftspeople typically sell their work at wholesale prices.  But once you start consigning/selling to galleries, the world changes.  Shops sell at retail.  So you need to price your work accordingly if you expect to stay in business.  The Arts/Crafts community is smaller than one might think.  Never forget that your reputation is everything.  Word gets around (one aw *%$! is worth 10 attaboys/girls!)

Carpe deum!

Vase, 2011

Vase, 2011 - Black Cherry Burl, French-Polish

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Advertising on Etsy

Woodturned Salt & Pepper Mills in Rustic Maple

Woodturned Salt & Pepper Mills in Rustic Maple

With thousands of sellers and millions of products, Etsy.com is arguably the most vibrant on-line art and craft marketplace out there.  But how to distinguish oneself from the crowd is the key question.  So it was no surprise when a newcomer to one of the Etsy.com forums asked, “What’s the best way to advertise on Etsy?”  Continually asking the same question myself, I decided to share some of what I’ve learned over the past two years selling on Etsy.  Very little of what follows is “original thought”, but the response was so overwhelming, I thought it would be good to share in this space.  As always, thoughts and comments are welcome….

What’s the best way to advertise on Etsy? Great question! First, let’s take a couple steps back and talk about the basics for a minute.

Selling is all about establishing and maintaining buyer confidence – confidence in you and in your product. (You already know that, but it’s worth re-stating because selling on-line is 10 times harder (at least) than selling in person.)

To do that you first need to understand your ideal patron, then create work that appeals to that person, display it in ways that are attractive to that person, price it accordingly and write good ad copy to describe your work and answer your patrons’ questions. Your copy should also reflect sound SEO principles (as a simple example: use simple, descriptive titles that people use when searching such as: “French Provincial Cabinet.”) Use descriptive single-word tags and put the most important words first – for example: cabinet, French, Provincial, walnut, and so forth. The idea is to attract customers who don’t necessarily belong to Etsy, but who use Google, Bing, and other search engines to find (in this example) French Provincial cabinets. (You want proof? Close to 50% of my Etsy sales come from first-time Etsy buyers who found my work from a search engine.)

Next, take great pictures of your work. Invest in professional photography if you can afford it, otherwise learn to do it yourself. You don’t need expensive equipment (I use an old 4mp camera, five ordinary shop lights, 20% gray poster board backing, a pvc pipe frame I made myself, and Gimp (a freeware Photoshop competitor) processing software. Total investment? under $200. But whatever you have – you need to learn how to get the most out of it. (Just like in the shop, the right tool helps – but only if you keep it sharp and use it properly.)

Next: have a great shop banner. (Hire a graphic artist to make one, if you can’t do it yourself.) Write compelling introductions and sound shop policies. (I found it worthwhile to have my shop critiqued professionally – Cathy at EurekaGuides will give you an excellent one for around $25. There are probably others, but Cathy’s very good.) The advice will probably hurt, but remember: you want SALES – not pats on the back. If following that advice generates sales, that’s all that counts. So check your ego at the door, so to speak, and follow that advice!

Next, join a large and very *active* team and participate in forums/discussions. Create a treasuries featuring others’ work – at least monthly and more often if you can. Reach outside your comfort zone. As woodworkers, we typically think in terms of things that create sawdust. But think in terms of what your ideal customer typically buys. (Trust me, guys – it ain’t woodwork!) And feature that kind of work in your treasuries. (Look at the treasuries that make the front page and those that are the most popular and style yours accordingly.)

Add people to your circles. By extension, many will add you to theirs.

Set up a Facebook Fan page, become active on Twitter and StumbleUpon. All will generate leads.

The idea is to become as widely known as possible for creating amazing work at prices people are willing to spend. In short, create a compelling value proposition – and make yourself known as widely as you can without breaking the bank. I could go on, but I think I’ve made my point.

Wait a minute, you might ask: doesn’t that take a LOT of time? When do you find time to make anything? The answers are “yes” and “whenever I can.” I only get to spend 20 – 30% of my time (if I’m lucky!) in the shop/studio making wood chips. The rest is spent doing all the above and more. But that, as they say, is life – and business.

Anyway, I hope some of this helps!

Brad

P.S., In the interest of full disclosure: I have no commercial interests in any of the products or people I’ve recommended.

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My (new) Artist’s Statement

The longer I work as a studio woodturner, the more I find myself viewing my work differently – thus my updated Artist’s Statement.

So you might ask, “why bother with an artist’s statement?  Doesn’t your work speak for itself?”

The simple reason is:  No, an Artist’s Statement is essential to the success of any artist.  Or to quote arts consultant Alan Bamberger, “Like an introduction to a book, your (artist’s) statement presents the fundamental underpinnings of your art.”  I could not agree more!  So with that said, I would like to share my statement with you.

Fine wood is my passion and creative canvas.  Fine wood is a living medium of natural wonder and timeless beauty.  The interplay of color, figure, motion, proportion, balance, and finish unite in a totality far greater than physical dimensions alone might suggest.

Fine wood evokes intense feelings of warmth unmatched by any other material – or any other medium.  Natural wood delights the senses with its colors, its texture, its depth, its aroma.

Whether a functional piece – a pepper mill, a salad bowl – or a fine art form:  owning, viewing and handling finely crafted wood art is an experience unique in all the world.

I work to honor wood’s penetrating beauty – to create art forms whose lines, colors, textures, and finishes fully satisfy their intended purposes – forms that harmonize with their surroundings, yet stand distinctively in their own space:  works that resonate with the soul.

The vibrancy and creativity of the American art scene – and the fine craft movement in particular – are sources of intense satisfaction and inspiration for me.  I am honored and gratified to participate in both.

So there you have it.  Please feel free to let me know what you think.

-Brad

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Look for Us on Technorati

We just claimed our space on Technorati (http://technorati.com)

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Grey Towers Heritage Assn – Festival of Wood

This weekend, August 6 – 7, from 10AM – 5PM, the Grey Towers Heritage Association is presenting its seventh annual “Festival of Wood” – one of the most prestigious exhibitions of fine woodcraft held in North America.  Held in Milford, PA on the lush grounds of the ancestral home of Gifford Pinchot, America’s first Forester, this festival is a “Celebration of our National and Cultural Heritage of Wood.”

Please join 14 other artisans and me as we demonstrate and offer for sale fine furniture, accessories and one-of-a kind wood pieces you won’t find anywhere else.   There are plenty of children’s activities and crafts focused on wood and the forest (including special visits by Smokey the Bear and Woodsy Owl), Chainsaw Carvings, Free Music, Mansion Tours, and a whole lot more!

Don’t miss this special fun-filled weekend at beautiful Grey Towers!

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Powermatic Lathe Quill Fix

I love my Powermatic 3520B (aka “mustard monster”) wood lathe.  It’s a sturdy, powerful machine that does everything I’ve asked of it without complaint.  In all, I think it’s the best value in an “advanced amateur/professional” wood lathe currently available.

I have however found a design defect (and solution) that might be helpful to the “mustard monster” community.  (I’ve shared this problem and recommendation with the Powermatic people, and hopefully, they’ll make the change or come up with an even better fix.)

The “quill” (the extendible portion of the tailstock) on the 3520 is stabilized by a simple 10/24 screw that galls (that is: the screw threads bite into) the quill when significant torque is applied to it – particularly over an extended period of time.  This mostly happens when you do a large amount of drilling on the lathe – like making the deep holes for pepper mills, which I do a lot! (Normal turning with the live center presumably doesn’t cause galling – or at least not as much.)

Bottom line: you’ll know there’s a problem if the quill doesn’t advance or retract effortlessly when it’s not under load.

One solution is to simply buy a new quill for $50.00, plus shipping.  But at least for me, that’s not a good fix because it doesn’t the root cause.  (I like PM, but not enough to be constantly buying new quills.)

There is however a simple fix.  (The following could void your PM warranty. I didn’t ask when I spoke to PM, but be aware.) With that said: here goes…

  1. Presuming there’s significant galling, ask a machinist to mill out the raceway to clear the  galling and then polish the outside edges to give a clean bearing surface.  (For me, that meant taking the raceway out to about 7/32″.)  Of course, if there’ no galling and you want to be pro-active, go straight to step 2.
  2. Buy (or ask your machinist to make) a dog-foot set screw that fits the quill raceway.  You want a fit that’s loose enough to allow the quill to travel freely, but not so loose that the quill twists when torque’s applied. (I let my machinist decide the right  measurements.)
  3. Finally, you will probably need to drill out the existing set screw hole in the tailstock and re-tap it to accommodate the new set screw.  (Your machinist can do it for you if you’re not comfortable doing it yourself – it’s not hard, but can be a little scarey if you’re not familiar with the process.)  You might also need to file a “flat” on the outside of the set screw hole to give the lock nut good purchase to hold the new set screw firmly in place.

Once everything’s done, reassemble the tailstock, insert and adjust the dog foot set screw, run the quill back and forth to be sure it moves freely, install the lock nut and you’re back in business.  (My total cost was under $45.00, which included a new drill and tap.)

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The EtsyLush Team

Etsy.com is, as many of you know, one of the world’s most vibrant online marketplaces.  One of Etsy’s greatest features are Etsy “teams” – virtual groups of sellers banding together to help promote each others’ shops, answer questions and improve the overall Etsy experience.

One of the best, in my opinion, is the EtsyLush team.  Rightly billed as “the best of Etsy,” the EtsyLush team has only been around since March, but has already attracted over 4,500 of Etsy’s best.  In fact, EtsyLush has grown so rapidly that Cathy of EureckaGuides recently put out a call for help.  Six of us answered Cathy’s call and are now helping maintain and grow this extremely talented and accomplished team.

Come check us out!

Brad

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