Happy Happy

Well I guess I'd better say Happy New Year here before I miss my chance.  Thanks everyone who has been following along here on the blog this year.  It's still fun for me to come here and write and share what I am doing. I hope it's fun for you all too, and informative and helpful at times.

I've lined up my first guest blogger.  This is something I want to do more of this year.  I'd like to have a guest writer occasionally. I'm also planning on doing some interviews too, some written, and maybe a video interview or two.  That will be fun right?

Off we go...

Alternatives to Craft Shows

I just sent in applications for two craft shows for this coming summer. If I get in to both of them the cost is going to be about $360, plus travel and expenses.  They are both within 100 miles.  Hopefully I'll be accepted, I'd like to get my work out in some new areas.

Still, craft shows aren't my favorite gig.  I'd much rather sell from my studio (which I've already written on).

Another  way of selling that I prefer is to do a self promoted show with other potters.  There are great models for this sort of venue.  The three most successful I can think of are the Minnesota Potters Tour, 16  Hands, and the Soda Chicks.  There are other artist tours around the country but I'm talking about events that focus on pots.

A group of potters and I gave this a shot a for several years in a group known as Circle of Eight.  We had good success with our sales and we also did exhibitions together.  Expenses were shared and we combined mailing lists for our shows, which were held at a group member's home.  We had two sales per year and it was always profitable.  We also invited guest potters to join us each time, this was fun as it kept things fresh and exposed our customers  to someone they may not have known.

This past September the Circle of Eight split up.  Like any relationship between people we had problems and didn't work them out in a timely fashion.  It's too bad as we were certainly moving in a positive direction.

The good thing about setting up your own show is that you can share expenses, mailing lists, email lists etc.   I think it's important to be with people who's work you respect and who are like minded.  That energy can feed and grow into a great thing.  I've seen this first hand at the Minnesota Potter's Tour where folks show up in droves to buy pots and meet the potters.

Other groups out there that are worth mentioning are Cousins in Clay, and 3 Guys and Some Pottery.  You may know of more and I'd like to know about them so leave a comment.

I want to talk also about online sales.  I'll save that for next time.

Drawing, no Potting

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No potting happening in reality although I'm doing quite a bit in my imagination.  Things always seem to work out better there anyhow.  So here are some pages from my sketchbook that I've made over the last couple days.

Cider

Sarah and I have had a very nice Christmas with our family and friends.  The holiday will actually continue for us as Sarah's siblings and their children come in from out of town over the weekend.

Last night Sarah and I opened the cider I had ordered from Westcott Bay Orchards.  We pretty much got hooked on cider while we were in England.  (Thanks to Paul and Marion, and Doug and Hil).  When we got back home I tried some of the so called ciders in the grocery.  YUCK!  It wasn't until I ran across this article on the web that I found out that true cider was being made by some small operations on both coasts.

The Westcott Bay Traditonal Dry was my favorite.  I'm hoping to order some bottles from Eve's Cidery in New York state this coming year.

If you're interested in the early history of apples and cider in the United States you should read the first chapter of Michael Pollan's book The Botany of Desire.

Well that's all for now.  Regular pottery related posts should resume in the coming week.

Merry Christmas

Merry Christmas!

Thanks to everyone who visits the site and for all of you who have supported me in numerous ways this year.

Winter Mix

Happy Christmas Eve!

Just thought I'd put up a mix of photos since there is not much potting going on at the moment.  Above are some doves that were in the driveway yesterday morning.  Good subjects for later drawings.

Below is a bowl that came out of the kiln over the weekend.  This was part of an order of lily bowls, the others were done in sgraffito with the white slip left in the back ground and colored with glaze.  This one I did just for kicks to see what it would be like to remove all the excess slip around the flower.  Not bad.

I also did a bit of underglaze painting on some tiles, again just for fun.  I had several, but really it's harder to do and get good results than I imagined.  This one isn't too bad.  My problem is often that I don't know when to stop.  Quentin Blake says "Stop before you think you should."

Our big cat Loupey out this morning enjoying the sunshine.

My terror sig seems to be suffering from separation anxiety.

New Drawings

Just unloaded these tiles from the bisque this morning.  I've been doing more sketching in my journal over the last few days and wanted to try these out on clay.  Not bad.  I'll get these glazed up soon

Keeping on...

I was looking back at my Potter's Journal from this time last year and found this image.  Since June of this year my images have changed quite a bit, becoming less cartoon-y and somewhat more anatomically correct.  I think.   This earthenware journey is taking me to new places.  I am itching to change things up a bit more now.  Today I mixed a batch of terra sigilatta.  I'm going to do some colorant tests as soon as it's ready.

Sarah and I were talking about how my recent work isn't as 'Ron-ish' as it used to be.  We talked about how I tended to handle the work a bit more in the past, leaving more marks of the making as well as brushing on the slip so it had a thick/thin quality to it.  I think in general it had a carefree quality to it that is lacking now.  Something I am thinking about.  I have to just get out there and make pots for things to happen.  Anything forced will look...forced.

Something happened recently that made me awkwardly aware of how much I've allowed my artistic influences to be very up front in my pots.  This is a subject I've wanted to talk about for sometime but haven't gotten to it.  I've already promised a post on alternative selling methods, so that will come first and then this other thing.

For now the journey continues.

Wanted. Very Mean Bird.

I am looking for an image of a slipware dish that is in a museum in Stoke on Trent.  I am not sure which museum exactly.  I saw the image a few years ago in a slide presentation given by Walter Ostrom.  The image is of a guinea fowl.  It is a very dynamic drawing (I believe it was sgraffito not trailed).  This bird looked like it was going to rip your head off.  Very fierce!

I've looked online.  I looked at the Stoke Museum site too.  They don't seem to have their whole collection online.  Anyhow if someone out there has this image I'd like to see it again.

The image above is pretty close but that rooster isn't nearly as fierce as the one on the plate I remember.

What's Next?

I'll do a post on alternative selling methods, or not so traditional, today or tomorrow.  I'm sort of in limbo at the moment.  That could also be read as, "I don't feel like putting any effort into much and I'm also procrastinating on finishing some things".

okay

Sarah's Jewelry on Etsy

I just listed some of Sarah's  jewelry on my Etsy site.  I have to brag on what a good jeweler she is!    Free shipping on jewelry.(Within the US)

Easy shopping guys!!

Of course there are still pots there too.

Click HERE to go to my Etsy shop.

Craft Shows

I had a first time customer in the shop a couple weeks ago.  She asked me how I sold my work apart from having my Home Sale and I gave her the list, mentioning craft shows.  I told her I wasn't doing as many shows as I once did because it was pretty hard work.   She said something along the lines of, "sitting there all day long."  I think this is a pretty common notion that visitors to craft shows have.  That we exhibitors just sit there in our booths all day.  Most of us know there's much more to it than that: set up, break down, packing up again, stress over weather, getting there w/o the piece of crap van breaking down, answering the same questions over and over, smiling, engaging w. people, being 'on', being tired from getting up to unload those last pots at 4 am.  Any how I was nice and mentioned a few things and she seemed to understand that there was more to it than 'sitting in the booth all day'.

As a matter of fact, I make it a point to rarely sit down at a show.  I move around the booth, shuffle pots, say hello to people, look busy.  Sitting down, or sitting down reading (big no-no) pretty much sends a negative message to customers.

It's hard at first to find shows that may be profitable.  And sometimes it takes doing a show several times for it to begin to pay off.  I have found that pottery only shows have been the best for me.  I belong to a pottery guild that holds two shows a year.  It's well attended and folks have gotten used to seeing me there.  There are several pottery only shows in NC, we are a big pottery state with lots of potters so there is a good market for this kind of show.  People usually come ready to buy.

I did a medium sized, regional show for 4 or 5 years before I got it through my head that it just wasn't working for me.  Sometimes hoping that something will come about clouds my judgment.  Better to see it for what it is and find another show.

I've also exhibited in the American Craft Council show in Charlotte a few times.  This is a big indoor, juried venue with all mediums and exhibitors from around the country.  ACC holds shows across the US.  In Charlotte the booth fee with electricity runs about $900 and up.  It's a three day show.  That show never really brought in lots of money for me, it did give me good exposure and a sense of pride to be showing there.  Eventually the ACC Charlotte show folded, which wasn't a big surprise.  Charlotte just didn't support that show.

That's the only show of that caliber that I've done.  There are many out there and I know some are very good.

The bottom line is that you have to find what works for you.  There is a lot involved including building up a display that is nice looking but easy to transport, set up and tear down.

Over the years I've learned to put out less work at once to give the pots space and allow customer's eyes to rest.  I have some friends who take the big box store approach, stacking bowls and plates and getting as much as possible out on a table.  They claim this is something most customers are use to.  Maybe so, it doesn't work for me as all my pots are decorated differently and they need to see each one.

I also know a potter who loves to put some pots down on the floor, out of the way, but not out of sight.  Folks see these and just have to know 'what those pots down there are', 'are they sold?'.   I think it's something about finding a 'treasure' or something special. (which really isn't).  Funny.

What else to say about craft shows? Maybe some one else will add something.  Or feel free to ask questions.

Pizza Weekend!!

httpv://www.youtube.com/watch?v=p-77urgKbBE

Sarah and I ate lunch at Pietown in Charlotte Friday.  It was great.  I've been wanting to make a pizza topped with egg for a long time but I've been afraid to do so until I tried one.  No better place to do so than at Pietown.  It was yummy.  I didn't really like the type of bacon they use there but other than that it was really good.  I also had the ginger iced tea to drink, man, it was strong and very refreshing.

Saturday night we had friends over for a pizza party.  I made 5 or 6 pies, all different.  Everyone enjoyed themselves and bragged on my food.  It was fun to just knock out the pies and serve them as everyone sat around the table eating and chatting.  I didn't take any pics but here's the dish drain after all the washing up.

Windsor Castle Photo at Schmap.com

In September Schmap.com contacted me regarding a photo I took.  It is a shot of Windsor Castle that I took while in England this past August.  They have decided to include it in their latest online guide.

You can see the image HERE.  Upper right.

Also this is what it will look like when accessed by an iPhone or iPod Touch. Click HERE

Evidently Schmap scours photo sites, like Flikr, for images to use in their guides.  It was nice to be asked and accepted.

Sketches

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Taking a little break from the pottery selling posts.  I should have something up tomorrow though.

Here are some sketches I did today in wet slip.  2010 is going to the be year I loosen up!

Wholesale. Part 2, Subsection A

I just had a good chat with my pal Jen Mecca.  She'll hopefully chime in here at some point but we talked about the wholesale thing, so I thought I'd put some of it out here.

I am still getting my feet wet in this market so keep that in mind.  I do welcome those who have had more experience to comment.  That would be helpful to many of us.

My perception is that wholesale buyers are gallery owners who care about art and craft and the artists who's work they carry. (That may not always be true)  They are there to help us and promote us and our work.  If they are willing to buy our work I'd say it's up to us to make the best we can at any given time, to be punctual  with orders, and have good relationships with the galleries that are putting our work out.

Jen made the point that often times many of us, when just starting out, are willing to do just about anything to get our work out.  I think that's true.  As we become (hopefully) more successful in our careers we begin to care about having our work move out into more spaces and taken more seriously.  (Not everyone of course goes this route  and does just fine).

I want to clarify that I am talking about retail art galleries here.  I'm not speaking so much about a gallery that is your "representative" in the sense that many are for painters and sculptors. (Actually, clumping 'galleries' all together in one word is probably too general anyhow)

Jen and I wondered if other artists out there have noticed that some buyers are now wanting to consign due to the lower economy.  Anyone had that experience?  How do you feel about that?

Also, when a gallery does buy work at wholesale, 50%, I usually expect it to be marked up twice that.  Should a gallery notify the artist if the work is going to be sold for more?  I have heard people say over and over, "don't under sale your galleries."  (For instance, I shouldn't sell my pots from my showroom or at a craft show for a lower price).  If that's the case then should the gallery be allowed to mark it up?  If they have prime real estate in NYC should the pots be more there than in a shop outside of Atlanta? (not that I have work in either of those places!)

Exclusivity seems to be a big issue too.  I am okay with agreeing to not having work at a competitor's space that is nearby.  How close is 'nearby'? Same city? Same zip code?  How does that work?  I don't think there are any set rules.  And should I grant a shop exclusivity if they are consigning my work? I think I'd be more willing to grant it to a wholesale buyer.

Still, it's all not very clear what the 'rules' are or if there are any.  It seems to me that it's up to the agreement between the artist and the shop owner.  Like any relationship things can go smoothly, or take a tumble.

Often we are asked to sign a contract with a shop or gallery.  Should we as artists have contracts of our own?  Why not?  What are our rights as the creators of the work we make?  Shouldn't we ask for the very best that we, or our work deserve?  Once the work sells to a shop I guess it's theirs.  True?  Anyone have anything like this?

I hope I'm not muddling around too much here.

I feel like I have good relationships with the few shops I work with at the moment.  I am willing to make things work out best for both parties involved.  I think communication is important and any problems should be worked out as they arise.

As for taking orders I know many potters have their own methods.  Currently I have a $500 minimum order for the first order (that would be $1000 worth of pots, retail).  I expect payment to be made upon delivery.  I have a wholesale sheet with my pots listed and all the other pertinent information.  I charge actual shipping costs plus a 6% packing fee.  I don't have a minimum for future orders.  I also give 30 days for payment on future orders.   I do make exceptions sometimes with the minimum and I've worked with people on payment too.  I figure I will need them to be flexible with me someday plus I'm just a nice guy, you know.

If pots are delivered to a gallery should there be a 'delivery fee'?  A bit less than the shipping cost?  I think some artists make a big run and deliver to several galleries along the way.  What if a gallery owner comes and picks up the order?  They don't have to pay shipping, I don't have to pack it for UPS or USPS.  That's pretty good for both of us.

Well, that's all for now.

Intermission

If you ordered pots from my Esty Shop they have all gone out either UPS or USPS.  So you should have them soon.  Thanks!

I'll be writing Part 3  soon.  Be sure to go back and look at the comments for Parts 1 and 2. Some good stuff there, feel free to add to the conversation, or just mention that you are reading (it helps to know).

Part 2.

I've blogged about my Home Sale HERE and HERE and HERE.  This way of selling, right from the studio, has always been my preferred way of moving my pots.  It was important to me from the beginning to know my customers and to have that personal relationship with the folks who were buying and using my work.  It also allowed me to keep my prices low and probably sell to folks who otherwise may not have bought handmade pots (this is my perception, I could be a bit too romantic about this).

Mel Jacobson, who is the moderator of the listserv Clayart, has always said, take care of, and market to people in a 50 mile radius of your studio and that will be a great base of customers.  Of course I think this greatly depends on where you live.  I live 60 miles from the biggest city in NC but I sell more pots to people from my county than from the city when I have a studio sale.

I've never liked consigning pots to shops or galleries.  In my opinion I am stocking their shop for free.  Yes I may get 60% or 70% of the sale but I just don't feel like the owner has fully committed to me.  How do I know if they are really displaying my work in a good way or promoting it, are they trying to sell it or just using it for filler and window dressing? Now there are exceptions of course.  I do have good relationships with a couple galleries that I consign to.  I do not just consign to anyone who asks.

Still, I'd much rather a gallery buy from me directly.  This means wholesale which is 50% of my retail price.  If they are spending that money then I pretty much believe that they are going to try and sell my work.  I only began pursuing galleries for wholesale in the last few years.  I was more confident in my work and wanted to get it out there in the world.  It did mean I lost personal contact with my customer, but hopefully folks can find me on the internet if they try; some of them eventually make it out to the studio.

About a year after I switched to earthenware and started decorating more I raised my prices.  Right now my prices are almost double what they were when I was making salt glaze pots.  My thought process has changed, I feel better about the work and I feel like I am producing a consistent line of work within the ranges, asthetically and monetarily, that I am able.

I called Jeff Oestreich a few years into making pots.  I asked him how he marketed his work.  He told me about selling from his showroom, selling at exhibitions, and though galleries.  His bottom line was, "I don't put all my eggs in one basket."  I think that's good advice.  I would add to that, Pick and choose carefully where you put your eggs.

One of my setbacks early on was that I set myself up with preconceived notions about many things.  I could have tried a bit harder to market myself, but fear and doubt held me back.  Being self taught and never having gone through an apprenticeship or art school program meant I had to learn on my own.  I had some good role models and mentors that I am thankful for.

I'll leave it there for now.  More in Part 3.  Please leave any questions or comments in the Comments section.  I'd like to hear what you have to say.

Part 1.

My Holiday Sale officially ended on Sunday.  I still have a few orders that I am finishing up for folks.  In years past I would have had my last firing in the salt kiln just before Thanksgiving and would not have fired again until late February.  The ways in which I sell pots has changed over the last few years.  I want to talk a bit about that and hopefully get some discussion going here on the blog.

Since 1996 I have held 4 sales per year here at the pottery.  These sales were my main income for the year.  I could make enough at a sale to get by for 3 months.  For many of those years I had low expenses, no health insurance, and my world pretty much revolved around pottery.  When I started making pots I wanted to be the 'town potter' selling pots for everyday use at affordable prices.  That's what I did.  I made pots that were about form, no decoration, and fired in a salt or reduction glaze kiln.  My cups were $12, bowls $15, and I think the most expensive pot was $80.  I built up a good following of locals and had successful sales at the studio.

I started doing craft shows sometime around 2000 or 2001. I had held off on this because I never had a lot of confidence in my work and was afraid to be seen out in the world.  I never did loads of shows like many craftspeople do.  The most I did in any given year was probably 10, plus having my 4 home sales.  I never made very good money at craft shows.  My brown, salt glazed pots did not grab the average person's attention and get them into the booth.  I was not idle at shows.  I am an active talker to customers, friendly, but not pushy, excited about my pots.  I think being passionate about my work and talking about  it really helped me sell pots to strangers.  This was unlike my home sales where people knew what to expect when they came here, I pretty much educated my home sale customers over the years and got them excited about my aesthetic.

Work sold on consignment to a shop or two followed.  This usually meant that I was getting 60% or 70% of my retail price and the shop kept the rest.  I was never to keen on consignment and I am not now.  I'll talk more about that later.

I really avoided wholesale for a long time.  Of course my pots were way to cheap anyway but the real reason was that I didn't know how to form a relationship with a gallery owner and I was worried that I did not have a consistent enough body of work to take wholesale orders.  I was firing my salt kiln every month often experimenting with new clays  and slips.  My home sale customers appreciated this variety, but I wasn't sure a gallery would.

I learned in time that all craft shows weren't created equal and that I had to pay attention to which ones were successful for me.  It turns out that here in NC there are several pottery only shows and those have been the best for me.  I belong to a pottery guild in the Charlotte region that holds two sales a year, these have been good too.  I did the  American Craft Council show a few years in Charlotte.  It was a bust.  Eventually this ACC show was discontinued in Charlotte.

Okay that's a bit of back ground. I don't want these posts to get too long so I'm going to break them up.  Part 2. Later will talk more about how I feel about selling pots presently.

Sunday

Today is the last official day of my Holiday Sale which has ran for the past two weekends.  The showroom will remain open until the 23rd.  It's been a pretty good sale.  Thanks for everyone who has been out.  This sale used to be my biggest of the year.  That has changed significantly over the past 4 or 5 years.  I'm going to talk more about that and other related things this week.

My online sale has been better than I expected.  It's really amazing to be able to put the work out there and know that anyone in the world can view it and purchase it if they wish.  I want to put more energy into my online market in 2010 and see where that leads.

Lots to do today, including glazing those 60 small dishes, and packing pots to ship.  I hope everyone out there is doing well.  Thanks for checking in.

Oh and I did get the table cleared off.