Showing posts with label how to. Show all posts
Showing posts with label how to. Show all posts

Book Review: How to Start and Run a Commercial Art Gallery by Edward Winkleman

Submitted by: Sydney Luther, Communications Assistant

If only every potential career had such a well-laid out, thoughtful, and truthful guide book as Edward Winkleman’s “How to Start and Run a Commercial Art Gallery.” If you have the passion and the drive to open a retail gallery, this is a helpful guide. Winkleman writes as though he's speaking directly to you, and he lays some things out so simply that I feel like I could go start a gallery right now!

A point Winkleman repeats several times throughout the book is this, “there are much easier ways to earn a living than by selling art. It is assumed, therefore… that enthusiasm and an understanding of the importance art holds for mankind play a major role in influencing anyone to open an art gallery” (26). Basically, do not open an art gallery with the sole goal of becoming wealthy. There are much better and easier ways to do so. However, as an art dealer himself, his argument is not that no one should ever open a gallery. I think he hopes to simply warn any possible new gallery owners to really consider their motives before beginning the task of opening their own business. Passion is key to loving your new career as an art dealer, he says.


This book functions as a business how-to for the art inclined. As Winkleman points out, “having a PhD in art history does not guarantee that you’ll be any good at managing a small business, just as having an MBA does not guarantee that you’ll develop an eye for the kind of art that collectors will want to purchase” (1). Both business skills and artistic understanding need to be held to be able to successfully run a commercial art gallery. This means you must both be an expert in the type of art you are going to sell, and be savvy enough to run a business with little outside help.

Winkleman discusses the basics of deciding on your gallery’s mandate, ensuring that you have the legal and economic matters covered involved in starting a business, how and where to find artists to represent, how to find and keep art collectors coming back, how to take part in art fairs, as well as many other topics in this 250 page book. As someone working for a not-for-profit art organization, many of the things he writes about are not applicable to my job. However, I do feel I now better understand the everyday work of the owners of commercial galleries, such as the Rouge Gallery in Saskatoon or Slate Fine Art Gallery in Regina.

Interested in reading this book? We found it from the Saskatoon Public Library. Find it at a library near you here. You can also purchase it here


Winkleman, Edward. How to Start and Run a Commerical Art Gallery. New York: Allworth, 2009. Print.

How to Apply to a Gallery, Part 2: Types of Galleries

Submitted by: Sydney Luther, Communications Assistant, and Vivian Orr, Communications and Publications Coordinator

Click here to read part one.

When you are applying to an art gallery, it’s important to note that there are several kinds of galleries. The first is a commercial gallery, which is an individually owned, for-profit gallery. These galleries are run as a retail business. The owner will choose to either purchase artwork outright at a wholesale rate, or to sell the work on a consignment basis. The latter option is more common. This means the artist receives a portion of the price of the artwork when a piece is sold, and the gallery receives the rest. As mentioned in the last post, there are many reasons why a gallery needs the consignment they are owed. This allows the gallery to continue to run!

The second type of gallery is a cooperative gallery, in which artists join together to set up and run the gallery. Everything involved in running the gallery is dealt with democratically between the members, and the gallery is co-owed by all the artists involved. In this case, wall space in the gallery is shared by the artists in the cooperative. If an artist wishes to join, there will be a charge and usually a monthly fee to pay. Sometimes these galleries will show works of artists who do not belong to the cooperative, but usually there is a fee for this.

Lastly, there are museums, which are publicly funded galleries which generally do not sell the work they show. These are funded by grants and through the government, and do not run like a retail business. These usually are run by some sort of advisory board and employ a curator who chooses which pieces will be shown. The institution may have a gallery gift store or boutique that does sell items. Again research is advised before approaching the store or boutique.

The Mackenzie Art Gallery in Regina is a public, not-for-profit gallery.
Have you spotted the issue with these explanations yet? They are not cut-and-dry definitions. The Affinity Gallery at the SCC is a hybrid of the public and private types of galleries. We are funded by the government and by grants, and we are considered a public, not-for-profit gallery (meaning there is no entrance fee and we are open on some statutory holidays) but we do sell pieces on a consignment basis in our exhibitions, if the artist chooses. We make money to fund the gallery through these types of sales. The SCC also has a gallery boutique featuring a selection of works by Juried SCC artists.

Again, the underlying message here is to do some research before you approach any gallery. It is important to understand these different types of galleries, as they determine if or how you can make money off of your artwork. 



How to Apply to a Gallery, Part 1: Advice from the Experts

Submitted by: Sydney Luther, Communications Assistant, and Vivian Orr, Communications and Publications Coordinator


In order to have your work exhibited in a gallery, you need to approach a gallery. However, like many things in life, some ways are more effective than others. Often gallery owners and directors become frustrated with the lack of understanding from artists about what they do and how they do it. We asked several gallery owners and operators what they wish artists knew before applying to a gallery. This is what they told us.

With the internet, it's very easy to do your research about any gallery.

First and foremost: do your research. Before contacting a gallery, check out their website and mission statement. What kind of work does the gallery show? What level of artists do they exhibit? Do you need to be a member of an organization to show there? Is your artwork a fitting style for that gallery? As one gallery owner wrote, “An abstract artist contacting a traditional gallery will probably not get a response.” Be realistic about the gallery and your work. Another owner advised, “If you are a new artist with no gallery experience, approaching a major art institution is likely not going to be fruitful.”

The second most common comment is do not walk into a gallery with your work hoping to find someone who will be immediately available to talk to you about showing or selling your pieces in their gallery. Find out who the most appropriate staff member is to speak to, and make an appointment. Everyone’s time is important; show that you value and respect theirs as much as your own. If you do walk into a gallery without an appointment, do not expect instant feedback about your work. Most galleries will not accept walk-ins of this kind.

The next advice given by those we interviewed is to check the submission protocol of the gallery. Submit everything the gallery asks for, which may include an artist’s statement, a curatorial statement, a CV, an estimate of value, and photographs in the correct type of file (for example, .jpg or .gif files). Follow the instructions you are given regarding these types of procedures.

Do not simply cold call the gallery without first doing your research. In a book directed at new gallery owners, How to Start and Run a Commercial Art Gallery, Edward Winkleman writes:

Because cold-call submissions are often the least productive means of finding suitable artists, they tend to be most dealers’ least preferred means of searching. No matter how explicit your submission guidelines may be about the type of art you’re interested in, you are likely to receive package or e-mails with images of work that seems plainly wrong for your program. On the other hand, every now and then, an unsolicited submission will make your day. Either the artist has done his research and knows his work is a good match for your mission, or fate basically smiles on you. (190)
Why not try your hardest to be that artist who makes a gallery owner’s day? Don’t wait for fate. Do your research!

One gallery manager pointed out that it is frustrating when artists are unrealistic about the costs of running a gallery. There are a huge number of expenses which are covered by the gallery’s commission on any artwork sold. A gallery’s share of a sale goes towards rent, utilities, advertising, staff, shipping, insurance, and security.  This is why a gallery will take a percentage of the profit from any sales made.

The bottom line is to research the gallery before you apply. It will save everyone involved time and frustration. However, if you find that your first few applications are not fruitful, try to remember that there is a learning curve involved. A rejection could be an opportunity for constructive feedback and success in the future. 

Click here to read part two. 

References:
Winkleman, Edward. "Artists: Where To Find Them; How To Keep Them." How to Start and Run a Commerical Art Gallery. New York: Allworth, 2009. 160. Print.

Social Media 101: Part 2 - Twitter & Instagram

Submitted by: Sydney Luther, Communications Assistant

Read Part 1 here.

Similar to Facebook, Twitter is a social media website. Tweets are like Facebook status’, but are limited to 140 characters. You can share photos with your tweets, and you can also tweet links to other websites. 

An example of a tweeted picture.

An example of a tweeted link.

On Twitter, people can follow your business’ account and then they will see your tweets in their twitter feed. You can use Twitter on your computer or as an app on your phone or tablet. There is no distinction between individual accounts and businesses or organizational accounts. Twitter is also useful for you to keep up with what’s going on with artists you like, businesses with which you are affiliated, organizations of which you are a member, news outlets that you read, the city in which you live, and 

even celebrities in whom you are interested. If you follow people, they are likely to follow you back.
On top of creating your own tweets, with photos or links, if you so choose, you can also retweet others' tweets. This means you are sharing their tweet with your followers. This is useful when you are hoping to share information about an event or about another artists' work. 

Tweeting quick, informational tidbits is helpful for readers to keep updated on your business. Feel free to tweet links to give more information. Twitter will shorten links as to help you with your character count. You can tweet more than is recommended to Facebook or Instagram, since the posts are shorter and more compact. Tweeting several times in a row is fine, if you have more than 140 characters of information to share. Posting on Facebook or Instagram several times in a row is less acceptable.  

Instagram is a photo sharing app that you can only use on a personal mobile device, such as a smart phone or tablet. You need to download the app to be able to use it. For some reason, you cannot post via the website, but you can sign into your account and view other’s posts on the website. Since you create art, Instagram is an awesome way to share your work! Always caption your photos, and feel free to share with your Facebook page. Avoid overusing filters, however, since you want to show the public what your art looks like in real life. Overusing filters can also appear unprofessional. 


An Instagram photo shared to Twitter.
When sharing to Twitter, your tweet will simply share a link to your Instagram profile, which is not ideal. I would recommend tweeting the same photo as a Twitter photo, instead of sharing via the Instagram app. This way, the photo will open in a viewer’s Twitter feed.  

Hashtags are great for Instagram, Facebook and Twitter! A hashtag is a label you can add to any message that will let people view it who don't follow you or like your page. Hashtags don’t work from private or personal Facebook pages, but they do work when you use them from a public page. Both your Instagram and Twitter accounts are public (and they should be!) and using a hashtag lets people searching for related subjects stumble upon your work.

For example, if I am visiting Edmonton and I would like to see what’s going on in the city, I may search the hashtag #yeg (This is the airport code for Edmonton and it has become common practice to use these codes as a hashtag). I can see the most popular or the most recent posts by anyone who used that hashtag. If someone had just tweeted about being at an art market in Edmonton using this hashtag, I may view this and decide to go to said market! The same goes for both Facebook and Instagram. Hashtags may seem trendy or annoying, but they are helpful when it comes to reaching out to the public. Again, try not to overdo it, however. There is a fine line between professional and annoying. 


The most popular tweets on a hashtag on Twitter.
The most recent tweets using a hashtag on Twitter.




















The bottom line about social media is this: try it out. See if it's for you. Don't write it off as something that simply won't work for you or your business. Perhaps start by looking at other businesses' profiles and judge for yourself. 


For more information about Twitter and Instagram, check out these links:


Twitter for Business

Why Artists Should Use Twitter
Instagram for Business
Instagram for Artists

Social Media 101: Part 1 - Facebook

Submitted by: Sydney Luther, Communications Assistant

Social media may seem like a fad or something only teenagers are interested in, but these websites have become an important and useful tool for any non-profit organization or business person. Social media are defined as any media that exist on the internet "that allow for the creation and exchange of user-generated content. Furthermore, social media depend on mobile and web-based technologies to create highly interactive platforms through which individuals and communities share, co-create, discuss, and modify user-generated content." Social media are used to relay information between individual people, organizations, and businesses. Facebook, Twitter, Instagram, YouTube, Vine, Pinterest, and Google+ are all examples of social media. 

At the Saskatchewan Craft Council, we utilize three of these social media: Facebook, Twitter and Instagram. Currently, we share almost all posts between these three websites, but there is a move towards creating different types of posts for each of these individual sites, as it creates a reason for someone to follow all three accounts. However, it is up to you how you would like to best utilize social media. 

Facebook is useful for a business or non-profit in that almost everyone is on it. This is no longer just a young person’s tool. My 92-year-old grandma uses Facebook! Facebook can be used to post photos, status updates, videos, events, and links to other websites. You can also share your Tweets and Instagram photos with your Facebook account. 

An Instagram photo shared to a Facebook page


As an individual business person, if you are hoping to use social media to raise awareness about your art, you should create a page for Facebook, and not an individual personal account. This means people can like your page instead of friending you individually, and they will still see your updates in their news feed. 

It's difficult, but important, to find a balance with how much you post on Facebook. Too much, and you run the risk of being annoying. Too little, and people may not know or care that your page exists. A business’ Facebook page is about sharing a product, sharing where to get said product, and sharing how the product is made. Feel free to share personal photos of you in the studio, but avoid those photos of you and your friends at the bar or of your grandchildren at the lake. Save such posts for your personal Facebook. Although social media feels casual, you should still conduct yourself in a business-like manner. 

There are many lists of tips on how to conduct oneself on Facebook. Most say you should be yourself, but also be professional. Post things that you would be interested in as a reader. Stay positive about everything you post. Promote yourself confidently and respond to people's questions and comments quickly and succinctly. Use proper grammar and punctuation and don't try too hard to be "cool" or "trendy." Facebook is definitely something used by people of all ages, so don't fall into the trap of attempting to speak or write like a teenager. Social media is all about sharing information and creating an online community.

For more tips about using Facebook, check out these webpages: 


Locally sourced materials: Clay

Submitted by: Maia Stark, Gallery Assistant
I was lucky enough, this summer, to participate in a university class offered by the U of S which taught soil science and art students alike to grind their own pigments and make paint from natural and local sources. It was an incredible experience for many of us, who had only ever bought paints from a store and had no clue what chemicals and minerals made “ochre yellow” different from “burnt sienna”. We made black pigment out of burnt bone, yellows and reds from soil samples, and greens and blues from types of rocks (such as malachite and azurite). It was a fascinating course, and I couldn't help but wonder about the potential for craftspersons to find their own local clay for pottery and sculpture—as some of the soils we used to make pigment were certainly fine enough to be used for pottery and ceramic work. While I myself am not a ceramic artist or sculptor, one of the other MFA students collected clay while we were up north, and has herself previously sourced local clay for her work. For this post, then, while it is still fresh in my mind, I’d like to share some of the research I've done on using natural sources for artist materials, in particular, clay!

First off, a quick note that digging for clay and soils should be done in such a way that the environment is minimally disturbed. The University of Minnesota Natural Resources Research Institute website has some helpful tips for digging your own “pedon,” or soil pit.

“. . .it is best to use a shovel with a flat, square spade so the sides of the pit can be smooth and relatively undisturbed. Dig a pit at least 1/3 of a meter (~ 1 foot) on each side and at least 35 centimeters (~1 foot) or more deep. Don’t be too destructive; only dig a pit large enough so that you can see the layers of soil relatively easily. Take care so that at least one side of the pit is straight down and smooth, so that the natural layering of the soil visible and not disturbed by the digging. When you are finished, be sure to put the soil back into the pit, or mark it so people will see it and not fall into it!”
-NRRI
Secondly, you want to be sure that you have permission to dig. Even on construction sites, where the earth may already be helpfully torn up, you need to have permission to enter the site. As well, it’s important to know that it is illegal to remove anything organic from national parks!


Clay from Exeter, New Hampshire (Kit Cornell Pottery)
 An excavation in Exeter reveals a cache of local clay (Kit Cornell Pottery)
When you are digging for your clay, you will probably end up with a collection of clay and less fine types of soil mixed in. However, this doesn't mean you have to painstakingly pick out all the good clay when you first take your sample of soil.

Eddie Starnater of the website “Practical Primitive” has a method of extracting good quality clay from samples which are full of less fine soil and sand by using water to separate the materials. Clay is lighter than sand and so by settling the mixtures (letting heavier soils fall to the bottom), one can quite easily obtain a good quantity of pure clay. This process, though not physically laborious, does have to take place over several days (Starnater’s process can be found here).

There are other ways of separating your clay from extraneous matter, and Kit Cornell of Kit Cornell Pottery has a method which is outline on her website, here.
Cornell is an artist from New Hampshire who uses clay that she finds locally. On her website, Cornell notes that naturally sourced clay, as opposed to commercially bought clay, can have wonderful surprises in colouring, as the influence of mineral and chemical deposits will vary the clay’s raw colour from reds and browns to even greens.
For Cornell, using local sources of clay for pottery and local oxides and ash for glazing is an important part of producing handmade products. This has been a very attractive concept to me, as well, after taking the course which taught me to harvest my own pigments. Being able to supply my own materials enhances the concept of the local and handmade (while also being accommodating financially)! For instructions and information about Cornell’s process, check out her page on clay here.


"Business Beginnings" with the Women Entrepreneurs of Saskatchewan Inc.


Submitted by: Vivian Orr, SCC Communications & Publications Coordinator

I attended “Business Beginnings”, a FREE one-hour session that introduced me to Women Entrepreneurs of Saskatchewan (WES) and their services. WES is a non-profit membership organization which works with women who are considering starting a business, purchasing a business, or operating an existing business.
Programs and services offered by Women Entrepreneurs of Saskatchewan (WES) include business advisory and support services, start-up and expansion lending, networking and mentoring opportunities, and business development seminars which focus on entrepreneurial skill development.

 I left “Business Beginnings” with quite a few interesting resources which I want to share:
·        24 page Start-Up Guide that includes:
o   Step-by-step guide to starting a business
o   Entrepreneurial self-assessment
o   10 Essentials of a business plan
o   7 Point checklist for your business plan
o   Forms of business organizations
o   and – the part that I really want to mention – three pages of contact information ranging from federal, provincial and municipal government contacts to Canada-Saskatchewan Business Service Centre, BizPal (licenses and permits), BizLaunch (free webinars for small business) to Western Economic Diversification Canada.
·        WES hosts a Lunch Hour Series which includes topics such as:
o   Selling & Buying Business
o   Is Your Website Mobile Ready? and
o   Image Matters! You can attend in either Regina or Saskatoon.
·        WES also has interesting webinars both live and previously recorded ones:
o   In the Green (How to ‘Green’ Your Business)
o   Keep Calm & Lead On and
o   To Incorporate or Not to Incorporate?
·        WES has educational seminars:
o   Business Planning Seminar, useful for those who are at the very beginning stages. Lending institutions want to see a business plan as part of their lending process.
o   Financial Series
o   Marketing Series
o   Human Resources Series
·     WES highly recommends the On-line Business Plan Development Seminar for those who cannot attend their seminars in person. It consists of 4 modules and is presented by the WECM Entrepreneurship Centre of Excellence.
·     Another on-line seminar they mentioned is 100 Essential Small Business Skills presented by the GoForth Institute
·      One more tidbit: Information Services Corporation (ISC) and the Government of Saskatchewan have partnered together to provide a website to complete the business registration process in Saskatchewan on-line.
WES staff were helpful, friendly and informative. If you are looking for education, support, advice, mentorship or a clear-eyed assessment of your business, consider contacting Women Entrepreneurs of Saskatchewan Inc.




Tips on Pricing Your Craft - Part Two: An Equation for Pricing for Profit


Submitted by: Amanda Bosiak, Former Member Services Coordinator

This is Part Two of our "Tips on Pricing Your Craft" series.  This week looks at Pricing for Profit.

Realistically, how do you place a dollar figure on your work? And how do you make it a profitable figure? Many craft people use a Material Cost + Profit equation that all too often falls way short of the mark. How do you know how much “profit” is enough? And how much of that is really profit? Remember that you have costs related to selling your work that cut into that profit. If you sell your own work at markets, those expenses (booth fees, travel and meals, accommodations and time lost from your studio) all eat into your profit by 30% - 50%. If you sell your work by wholesale or commission, you also lose up to 50% off the retail price.

Well, there is a tried and true method known as “Cost Plus Pricing”. Here is the basic formula:

MATERIALS + WAGE + OVERHEAD = COST
COST X 2 = RETAIL PRICE

Here is a brief breakdown of that formula:

MATERIALS: This is pretty self-explanatory – the cost of materials for each piece.

WAGE: This is the really important part! If you aren't paying yourself a wage, you should really start now! Be reasonable and fair with yourself – start at minimum wage and add to it based on your experience, education etc. You can also think of the wage part of the equation as the minimum profit you will make on each sale – so if you are uncomfortable with working out a wage for yourself, put the minimum profit amount in its place. Now, whether you sell the work yourself, through wholesale or commission, you KNOW that you will profit at least that much!

OVERHEAD: This is the pro-rated amount of your annual utility bills (for studio and office space), packaging and office supplies, equipment and professional fees, etc. Even if you work out of a corner of your basement, living room or garage, you still have overhead.

COST: Now you see the real cost of your work, beyond the cost of materials!

X2 = RETAIL: Now you see what the retail value of your work really is!
After you apply the Cost Plus formula to your work, you will probably still have to do some adjustment for your customer base, competitive advantage, and tiered pricing levels. Adjustments can be made to round figures up or down to more “attractive” price points (amounts ending in 0, 5 or 9 for example: round an item that is $27.86 up to $30 or down to $25) or to allow for consistency in pricing between different sizes of similar products.
In addition, you may find that some products will require the application of “Added Value” strategies. Branding and packaging are two ways to do this. Also, offering “limited edition” work and including support material with your work such as a biography on yourself, and care instructions for your product, all add to the perceived value of your work.

MAKING CHANGES GRADUALLY
If after all this you find that you have in fact been vastly under pricing your work, you will be in a position where you need to decide on a strategy for gradually increasing your prices. Should you find that you have been selling your work for half of what you need to in order to make a profit, it can be difficult to suddenly double all of your prices. It will be a shock to your customers, and a hard thing for you to confidently stand behind.

There are two times of the year when price increases are the easiest to apply, and these tend to fall during craft market and retail sales lulls; that is September (after summer sales, before Christmas sales) and January/February (after Christmas sales, before spring sales). So rather than doubling your prices at one time, try going up roughly 20% in the fall, and another 20% or so in the new year, or the next fall. New customers won’t know the difference, and your regular customers will take it in stride when you apply larger increases slowly over a set period of time.

A FINAL NOTE ON PRICING
Pricing your craft work – for profit and sales – is an ongoing process. Evaluating your prices every year or two should be a part of your business practice. There are a few other things to keep in mind:
Your costs will change (usually becoming higher) and so will your access to the materials you use for your work.
Your customer base will change – regular customer will age and experience income changes over time. New customers will require new products, and lower priced items to introduce them to your work.
The economy is in constant flux, with customers having varying amounts of disposable income from year to year. Even over the course of the year, as noted above, there are ebbs and flows in the annual spending cycle of the typical consumer.
Sometimes, it isn't the price of your work that keeps people from buying it. It could be that you are selling in the wrong markets (craft markets and/or stores/galleries with the wrong customer base). OR, the harder thing to admit to (on your ego and artistic soul), is it could be the product itself is not attractive to consumers, either in style or functionality. Consider your market and your product as you work towards successful sales, and good luck!



Tips on Pricing Your Craft


Submitted by: Amanda Bosiak, Former Member Services Coordinator

This two-part article is a summary of information provided in the SCC’s “Pricing your craft” workshop. The workshop is offered once or twice a year by the SCC in both Saskatoon and Regina. Groups or guilds can also request a presentation of the workshop by emailing scc.memberservices@sasktel.net.

PART ONE
Pricing can be one of the most difficult aspects of a craft artist’s practice. Unlike the creative process, pricing is part of the business side of craft – the side that a) takes time away from the studio and b) forces an artist to consider the worth of their work. Simply put, pricing can be both annoying and scary. It is however, essential to the success of a craft artist’s career. Getting money for your work is one thing – making a profit from your work is an entirely different matter.
In my experience more often than not, craft artists under price their work. This happens for various reasons, but the most common are
  • The artist undervalues their own skill and experience: they are too humble to ask what they should be asking for their work
  • The artist worries that if they price their work at what it is worth, it will not sell
  • The artist has work they feel is similar to items available at big box and chain retail outlets, and they feel that in order to compete they need to have lower prices

Regardless of the reason for under pricing, the end result is the same. For one thing, under pricing because you don’t value your work can also lead to your customers undervaluing your work and you, as a creator. For another, it can mean that you are not making the money (profit) you should be making from your craft business. Under pricing can lead to financial loss. If you are hoping to make a living off of selling your craft, then you simply can’t afford to ask for less than what your product is worth.

As for competing with big box stores and the like – you aren’t. Craft purchasers are a distinct group of consumers, often separate from the group of consumers that frequent discount retailers and chain stores. Yes, there is some cross-over but generally speaking, your customer base is a group of people with discerning taste, who chose to shop locally and shop handmade as often as possible.

It is easy to forget this, because the odd person who comes to your booth at a market and gasps that the price is too high, are the people that stick in your mind. Forget them. They are not a part of your customer base.

Still worried about competing with big retail? Have a look at this mug from Anthropologie for $38 USD.  Or this handwoven scarf from Browns Fashion for $335 CAD.

Once you get over all the reasons (excuses!) you have for under pricing your work, there are a few Golden Rules to keep in mind about pricing.
  1. Always stand behind your price: Don’t undervalue yourself or your work by haggling with your customer.
  2. NEVER lower the price if an item isn’t selling. Instead you may need to look at ways to Add Value (make it more attractive to the customer). Alternately, you may need to assess the product: the price may not be the reason it isn’t selling. Does the product function in a way that fits your customer’s needs? Does the style speak to your current customer base while also attracting new customers?
  3. BE CONSISTENT. Whether you sell your work out of your studio, at a market or in a gift shop or gallery, the price should be the same at all locations. This is a basic professional practice.
  4. Provide a quality product! Whether it is a new product, or one you have been selling for years; make it well.
In the second part of this series on pricing, I will introduce you to the Cost Plus method for pricing for profit!  Stay tuned!

Packing Textiles for Storage and Shipping


Submitted by Judy Haraldson: Professional Craftsperson: Fibre, Former Exhibitions Coordinator, Saskatchewan Craft Council

While working for the Saskatchewan Craft Council in the Gallery / Exhibitions area for 10 years, I've seen some good packing of handcrafted pieces and a fair bit of bad packing.  The reason for packing textiles or any craft object properly, is to protect it from damage.  Similar ideas and methods apply when packing for storage or packing for shipping.

The kinds of damage you want to protect your pieces from suffering include:  mechanical, dirt, fluids, light, chemical, molds, and insects.  Mechanical damage of textiles involves cutting, creasing, tearing, snagging, and sagging.  Damage from dirt includes dust and any residues from body contact.  Fluids are water, mostly, but also could be humidity and other liquids like oils and solvents.  Light damage can be fading of dyes and fibre breakdown.  Chemical damage in this case results from contact with acid-bearing wood and paper products, as well as metal which can rust.  Molds include mildew.  Insect damage is a concern to all fibre lovers.  Hazards abound!

There are a few general themes for packing textiles.  Start clean and keep it clean.  Prevent creasing.  Keep it dark and dry.  Don’t let it touch damaging surfaces.  Watch for bugs and get rid of them.  Put it in sturdy containers.  Use breathable covers for long storage.  Use water resistance covers for shipping.

Clean is pretty straightforward; clean it before packing and cover it from dust.  This can also include keeping the textile dry and out of the light.  Make sure it is completely dry before packing and store it in low humidity.  For long term storage, covers and containers should be breathable.  Shipping involves other considerations and less permeable materials should be used.

Protection from damaging surfaces is less obvious.  Wood and many paper products contain acids which, over time, can discolour and / or break down fibres in contact with them.  Painting wood with water-base urethane or latex paint provides protection.  Use acid-free paper products or use protective liners to prevent direct contact with the textile.  Cloth covers should be washed unbleached cotton; old white cotton sheets work very well.  Metal surfaces can rust or oxidize and stain textiles; again, use protective liners.  Plastics are neutral inert surfaces.

There is lots of information on fibre-damaging insects and what to do about them.  Isolate the infested or suspicious textile and kill the culprits by the method least harmful to the textile.  Repeated deep freezing works pretty well.  Mothballs are no longer considered to be very safe.  Insecticides require a lot of caution.  Inspect long term storage conditions regularly.

Containers for textiles need to protect from mechanical, chemical, and fluid damage.  For shipping, sturdy cardboard boxes with plastic covers on the textile are fine.  Plastic containers are very good for shipping.  For longer storage of textiles, drawers that have been painted with urethane are best.  Plastic containers can be used but textiles should be taken out and inspected and aired every so often.  Cardboard containers must be lined with neutral materials.






Creasing results from folding textiles and can strain fibres causing them to weaken and eventually break.  Keep small flat textiles (eg. runners, doilies) as flat as possible; if you need to fold them, pad the fold.  Large or long flat textiles can be rolled and covered.  Use a cloth covered rolling tube, and roll carefully without creases.  Make sure the roll is large enough in both diameter and length.  Tapestries and pile textiles are rolled face out, i.e with the back toward the roll.  Textured textiles (eg. beaded or embroidered) need padding between the layers whether folded or rolled.

Garments require some special considerations.  For long term storage, laying out flat puts little strain on seams and hanging parts, but folds must be padded to prevent creasing.  Acid-free tissue paper rolls or fabric pads are best.  Shipping a garment involves making it as compact as possible while keeping creasing to a minimum, and protecting it from mechanical and fluid damage.  Plastic tote boxes, cotton cloth covers and pads, or zippered sweater bags in sturdy cardboard boxes are some methods.  If your garment is going to be unpacked and repacked, include specific and clear instructions with photos or diagrams to ensure it is done right.

Three-dimensional objects need special packing for shipping, especially if they are fragile.  Framed pieces should be covered with bubble pack, then packed in a box large enough to include packing materials on all sides.  Irregularly shaped pieces should be packed in such a way that extending bits are supported and the object cannot shift within the packing materials.  Bubble pack envelopes are good for tiny objects.  Styrofoam chips are good packing material, but if possible, contain them inside plastic bags.

There is quite a bit of information out on the Internet about textile conservation and storage.  Here are some web sites to check out:











The Craft Factor - Marketing in Cyberspace

Vol 20, No 2 Summer/Fall 1995

In the mid 90s, Karen Schoonover addressed issues around artists using the Internet - still a very new thing in most households, workplaces and schools at the time - to market them self. The internet was - and still is - a low-cost option for artists to use for self promotion, and as an inherently visual medium, offered much potential to boost awareness about an artist and their work.

Excerpt from "Marketing in Cyberspace"
If you need to be reminded: What radio did was bring music into people's homes for free, giving them a sample of what the musician had to offer, and encouraging album sales. The hope was that artists could offer sample images of their work online, and this exposure would lead to sales.

Unlike the music industry however, sales in art and craft aren't charted via tools like Billboards Top 20 (which is based on hard figures from album sales). So the direct connection between online exposure and eventual sales can't be measured.

But if you consider how often a potential customer or gallery owner asks you if they can view images of your work online, then you can begin to understand just how close to the mark Karen was almost 20 years ago.

Read the complete article ...


Getting Things Done

Submitted by: Amanda Bosiak, Member Services

I'm a huge Joss Whedon fan: he's the creative genius behind Buffy the Vampire Slayer, Firefly, Dr. Horrible's Sing-along Blog and more recently, The Avengers movie. He also works on comic books, writes musicals and oh yeah, he scripted the first Toy Story movie. Joss Whedon is one busy guy and has been for a very long time. One of the reasons I admire him is because he seems to get so much high quality stuff done! I am always in awe of that type of person; How? How do they do it?

Recently, Whedon was asked that very question in an article for Co.Create and he admitted that it isn't easy (and that he's burnt himself out a time or two). One of the things he found useful, both for time management and remaining relatively stress-free, was a book by David Allen called "Getting Things Done". Well, if it was good enough for Joss Whedon, I figured it was worth the read.

Confession: It took me over a month to get the book done. This isn't because it's a difficult read, nor is it particularly long. I just happen to have an incredible aptitude for procrastination. I definitely needed this book.

The Craft Factor - Better Booths

Vol 13, No 3 Fall 1988

Submitted in the Fall of 1988, the article "Better Booths" from set designer Michael Bantjes came at an oportune time, just before the Christmas craft show season. The article succinctly covers a variety of topics in respect to booth design and product display.


Read the full article

Craft artists face many challenges when selling at craft markets, not the least of which is that every venue is different - lighting, booth size, drape colour, market size and booth layout etc. Marketers need to be able to adjust to the pros and cons of each venue.

September 6th at the SCC building in Saskatoon, Susan Robertson will be leading a workshop on Booth Design. Susan will present a number of ideas about how to go about designing your booth for craft shows, some of the Do's and Dont's of booth display, and share some economical solutions for craft display! Friday September 6th 2-4pm at the SCC Boardroom, 3rd Floor 813 Broadway Ave
SCC Members $10
Non Members $15
Space is limited!
Attendees are encouraged to bring pictures of their own past displays/booths for feedback and advice on improvement.
DEADLINE to register AUGUST 26th email scc.memberservices@sasktel.net

To Wholesale or Not?


Submitted by: Susan Robertson, Ceramic Artist

People often ask me about the why/how I ended up focusing on wholesale. Early in my career I followed the traditional methods of flogging my wares, weekend after weekend at craft sales. At the time, my three children were very young and I arrived home after the ninth weekend in a row away from home, to find my kids clinging to their father's pant leg in fear, not knowing who I was. It broke my heart. I decided then and there to find another way to continue practicing my craft and selling my work that would not require me to travel so much.

I started looking at wholesale as a viable alternative. Firstly and most importantly, it would allow me to stay at home more. It also had the added benefit of decreased speculation. I didn't have to make dozens of items and hope they would sell. I just had to make samples and produce them if and when they were ordered. The down side was that I had to sell my work to stores at half of my normal selling price.

I was fortunate in my timing to be able to take part in a program, the name of which escapes me at the moment, which was designed to help new wholesalers attend the Alberta Gift Show, for a minimal cash investment. It also provided me with guidance on promotional material. It was a great success and my venture into wholesaling was launched.

Over the years I have acquired and lost agents, ventured into the US market, survived the downturn in the economy and now find myself no longer needing to do retail craft markets, for which I am eternally grateful. I'm getting too old to haul, pack and unpack pots. 

Looking back, it was the right choice for me. Looking forward, with the diminishing returns of today's craft sales, I believe that this may be a good choice for others. Crunch the numbers, you may be as surprised as
I was to discover that your wholesale net income, when you include all of the costs, is not so different from retail.

The views in this article do not necessarily reflect the views of the Saskatchewan Craft Council.

Grant Writing Tips


... Or what the SCC staff wished they had known!

Submitted by: Vivian Orr, Communications & Publications Coordinator

SCC office personnel stepped up to the plate and with grim determination and their eyes fixed on potential money have researched, written and submitted six grant proposals in the last few months. Most of us have never written a grant proposal before. It was our desire to fund new projects, reach out to a larger community and create more opportunities for Saskatchewan fine craft artists that drove us on.

So far we have succeeded in getting a grant from the Creative Industries Transition Fund to establish a sales Boutique area (gallery gift shop) at Affinity Gallery. Needless to say competition for grant money is brutal so what follows is useful stuff to help all of us write better grants in the future.

Ontario Arts Council Grant Application Survival Guide (available online)