In this episode of Textile Art Business Interviews, we’ll be discussing how to teach workshops. I’ve got Deborah Boschert here with me to help us with that. Deborah is an artist, a teacher, and author of the new book, Art Quilt Collage.
I’m glad to welcome Deborah to the blog, today.
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Deborah and I discuss:
Her creative journey to fiber art and teaching
The different types of teaching and places where you can teach
Teaching contracts and how to use them
How to figure out if you’re ready to become a teacher
The processes involved in developing and teaching workshops.
Let’s get started.
Short on time, but still want to check out the interview? Grab the free pdf Deborah Boschert’s Interview and enjoy at your convenience.
CN: Hi Deborah. I’m glad to have you here to chat about your business. Welcome to the Clara Nartey blog. DB: Thank you so much for having me. I’m always honored to have the opportunity to talk about art and creating with fabric, paint, and stitch.
CN: Deborah, what’s the story of your creative journey? How did you get here? DB: I began making traditional quilts from patterns. (My first quilt was a Quilt-In-A-Day pattern. Shout out to Eleanor Burns! You should interview her!)
Eventually, I started seeing art quilts in Quilters Newsletter Magazine (sadly no longer in publication). And soon after that Quilting Arts magazine began publication.
Seeing art quilts in print opened my eyes to new possibilities. I took a class from Melody Johnson where I learned the wonders of raw edge fused appliqué and never looked back. I spent several years developing my own creative voice which led to showing my work, winning prizes and publishing a book.
CN: What a journey!!! And yes, I’d love an opportunity to interview Eleanor Burns. A great quilter!! Let’s talk about your main artistic medium – fabric. Why do you love working with fabrics? DB: Endless possibilities! I love exploring color, texture, print, and pattern — and that’s just the fabrics.
Layering with surface design, hand embroidery, and machine quilting add even more possibility.
CN: You once said to Ricky Tims, “I love to teach. I love to kind of nudge people into developing their own original quilts.” I assume you didn’t start teaching immediately you started making art quilts. How did you discover your love for teaching? DB: Teaching is its own creative endeavor, just like making art quilts.
As my creative voice became more clear and recognizable, I became more confident in sharing my process and techniques.
I’ve thought a lot about the process of developing your creative voice and I try to share those ideas along with the projects and techniques I teach.Types of Teaching and Where You Can Teach
Deborah Boschert and her Quilts
CN: What types of teaching engagements are you involved in? Do you teach online? Do you travel or do you only do local teaching? Lectures? 1-day or multi-day workshops? How exactly do you teach? DB: Yes, to all of that. I have an online workshop available called Buds, Branches and Blossoms: Botanical Fabric Collage.
I teach at several guilds in the Dallas/Fort Worth area and around Texas. I’ve been traveling more and more to guilds around the US and that’s super fun.
I’ve also had the opportunity to teach at premier venues like International Quilt Festival in Houston and Quilters’ Affair in Sisters, OR.
This year I’ll be teaching at both Craft Napa and Hudson River Valley. Giving an evening program is totally different than teaching a multi-day event, but I really love it all.
How Deborah Boschert ’s Teaching Career Progressed
Deborah Boschert in a Selfie with her Students
CN: Great!!! Let’s get to the details. How do you land teaching engagements? Do you have a contact list of venues to teach at? And if so how did you build that?
DB: In the beginning, I asked my teacher friends to recommend me to local guilds.
As I was invited to those guilds, I’d ask them to recommend me to other guilds.
After being published in Quilting Arts magazine, teaching at Quilt Festival and publishing my book, I am lucky to have guilds invite me to teach rather than seeking out opportunities.
Unlike guilds, most retreat-style events have a process for applying to teach. So, for those opportunities, I request an invitation to submit a proposal.
And then I spend a lot of time compiling a compelling application that fits their particular market.
I always include a list of my awards and publications which shows that I have experience and a strong body of work.
Handling Teaching Contracts (Yours vs. Theirs)
CN: Do you have a teaching contract for venues to sign? What are the necessary elements to include in such a contract? What do you do when the venue presents you with their own contract? DB: I do have a contract.
If the organization also has a contract, I often ask that we fill out both making sure they don’t contradict each other in any way.
The contract includes all the details of date, time and contact person, plus the exact programs and workshops they want to be presented.
The contract also describes exactly what I’ll provide and what they’ll provide.
When Are You Ready to Teach?
Deborah Boschert at her Book Signing Event
CN: One thing that deters people from teaching is they don’t know everything there is to know about a particular topic.
My question to you is: do you need to know everything before you teach?
At what point should a quilt artist feel comfortable teaching? DB: No one knows everything! We can’t let that be a deterrent.
But, here’s the thing, I know everything about how I create art quilts. In fact, I’m the only one who knows everything about my work.
I know my process, materials, and techniques and I’m eager to share them.
I always remind students that I’m just telling them what works for me. It’s likely I’ll completely contradict what they may learn from a different teacher and that’s totally fine.
To get to this point, it’s important to have confidence in your work.
For instance, I used to feel like I had to apologize for using acrylic paint on my art quilts since most artists use textile paint or dye.
Then I realized that the way I use paint is unique and I have good reasons for the choices I make. I’m happy to share those choices and encourage students to experiment and work through their own choices.
How to Stay Relevant as a Teacher
Deborah Boschert in Her Studio
CN: How do you as a teacher, keep yourself relevant in the quilt world when there are so many new teachers coming up every day? DB: I love to connect with people and social media is a great way to do that.
I share my creative process, interesting things I discover, places I visit and my thoughts about art and life.
This helps people get to know me and my artwork and might make them want to take a class with me.
My social media is not particularly curated or polished, but it’s me.
In fact, I recently posted a picture of a bunch of needles, pins and embroidery floss on the arm of my couch — rather than in a pin cushion.
It got more comments than almost any other post on my Facebook artist page. I’m not sure that converts directly to any teaching gigs, but it was fun and memorable.
Some of the Processes Involved in Developing and Teaching a Workshop
Deborah Boschert at a Sampler Event
CN: Is teaching financially worth the effort? DB: That’s hard to answer.
The reality is that it takes a lot of time to
develop workshops,
prepare handouts,
compile kits,
process paperwork and
travel — and of course,
make art that converts into workshop content.
It’s “worth it” to me because I enjoy it. I’m energized by students and I love the opportunity to travel.
It’s good to have items to sell that can supplement teaching fees.
Deborah Boschert’s Tips on Teaching Textile Art
Be generous with your knowledge and experiences.
Meet students where they are. Acknowledge that some people take classes just to spend time with friends and others are working hard to develop new skills. Be enthusiastic, kind and appreciative of everyone.
Be organized. Keep everything for each workshop you teach in a bin — demo supplies, workshop samples, supply lists, handouts and your own personal notes. It’s a huge hassle to recreate all this stuff every time. Try to avoid that.
Get to know other teachers. Ask for advice and suggestions.
Things will go wrong. It’s ok. Just be flexible and do your best.
Always pack a bottle of water and some trail mix. Take care of yourself.
Deborah Boschert’s 5 Faves
Podcasts — They’re entertaining, informative and inspiring. I especially enjoyed A Piece of Work which includes lively conversations with curators, artists, and entertainers talking about contemporary art.
Jeana Kimball Size 8 Red Work Needles — Long, sharp, not too thin and not too thick and have an eye that easily accommodates three strands of floss (but you can jam six strands through the eye if you really want to).
Deadlines — A good motivator. Keep the momentum moving forward.
CN: Thanks Deborah. It’s wonderful that you accepted my offer to do this interview. I’m sure my readers will enjoy reading your perspective on these issues. DB: Thank you, Clara! Your blog is such a wonderful resource. I’m thrilled to be included.
CN: It’s nice of you to say that Deborah. Thank you.
To learn more about Deborah Boschert, visit her website DeborahsStudio.com. You can purchase her book – Art Quilt Collage: A Creative Journey in Fabric, Paint & Stitch on Amazon or get a signed copy on Etsy.
Interview Highlights & Quotes
Teaching is its own creative endeavor, just like making art quilts.
It’s important to have confidence in your work.
Acknowledge that some people take classes just to spend time with friends and others are working hard to develop new skills.
I know everything about how I create art quilts. In fact, I’m the only one who knows everything about my work.
I spend a lot of time compiling a compelling application that fits their particular market.
Your Turn
What has been the most important thing you’ve learned in this interview with Deborah Boschert?
For this week’s Textile Art Business Interview, I’m glad to have here with me Jamie Fingal. Jamie is a full-time artist, an avid illustrator, and a sewer. She’s a co-curator for the Dinner at Eight Artists, a quilt artist, a teacher, and a fabric designer.
It’s my pleasure to welcome Jamie Fingal to the blog today.
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Jamie and I discuss:
The Skills You Need to Design Fabrics
Jamie’s Fabric Design Tools
Behind the scenes look at how to design fabric
How to market your fabric design
Short on time, but still, want to check out the interview? Grab the free pdf Jamie Fingal’s Interview and enjoy at your convenience.
CN: Hi Jamie, it’s my pleasure to have you on the blog.
JF: I am happy to be here. Thanks for asking me.
The Beginnings of A Creative Journey for Jamie Fingal
“Hopscotch” Fabric Line by Jamie Fingal
CN: What drew you to working with fabrics? There are so many artistic media, what about fabrics attracted you to working with them?
JF: My grandmother taught me how to sew at an early age and I really loved it.
The fact that you could take a piece of fabric and cut it up to create a piece of doll clothing and have that sense of accomplishment and wonder is what grabbed my imagination.
I made my own clothes for years, before embarking into quilting.
CN: I noticed that your new fabric line “Hopscotch” was just released. How did you become a fabric designer? Is it something you’d aspired to become, worked at becoming, or did it sort of happen?
JF: It was always a dream of mine. I was asked if I was interested, and I gladly said yes!
The wheels in my head began to turn at the possibilities. The thing is that someone believed in me, and all I had to do was believe in myself. I could do this!
Behind-the-Scenes Look at How to Create a Fabric Design
A Sketchbook Page by Jamie Fingal
CN: And you did, Jamie. You did!!! Give us a behind-the-scenes look at how to create a fabric design. What’s the process? Where does the inspiration for your designs come from? How do you start and what do you do to end up with a beautiful fabric design?
JF: It started with my sketchbooks where my designs are about 1” square.
Most of these designs come from my imagination or are inspired by my environment. Nature, home, textures, objects and things that I love.
CN: Did you say your sketches are 1 inch in size? Why that small? I also love to sketch quite regularly. But surely, 1-inch sketches must be challenging. How do you pack detail into a 1-inch square?
CN: Got it. Please continue. So, after you’re done sketching, then what next?
JF: The two artists that I worked with at RJR Fabrics went through all of my sketchbooks and selected what they thought would make good fabrics.
I drew the designs on paper, RJR Fabrics scans them, adds color, and then I got to see paper printouts of my line.
That was an exciting moment.
Then the designs are sent to the manufacturing facility to make strike-offs, which are 5” squaresof what the fabric could look like.
Then all of us check for clarity and color.
The changes are made and another set is made. If there are no changes, the fabric is printed.
The Fabric Design Tools Jamie Fingal Uses
“Hopscotch” – A Fabric Line by Jamie Fingal for RJR Fabrics
CN: That’s quite a multi-step process. Jamie, so what about tools? What are you using to create your designs? Types of pens and paper? Paints? Do you ever use a digital drawing tablet?
JF: I am old school and I want to draw directly on paper to create my designs. Someone gave me some advice years ago to keep drawing with a pen
Someone gave me some advice years ago to keep drawing with a pen to paper, and not use a computer.
For other lines, I turn in pen on paper designs, as well as, designs that are painted with watercolors, so that RJR Fabrics can have a sense of what my color palette is.
CN: So, what are the skills someone needs in order to be able to create fabric designs?
What Skills Do You Need to Design Fabrics?
JF: The great thing about being a fabric designer is that there isn’t just one way to design fabrics.
Artists who do surface design, fabric collage, block printing, stencils, and paint, just to name a few, me, and others who prefer pen to paper – everyone is welcome to the table.
For me, I draw every day to hone in on my skills.
I challenge myself to not use a pencil. That has been a huge growth experience for me.
CN: Jamie, you’re absolutely right about the different paths to fabric design.
In my interview with Jeni Baker, she states that drawing is not her strong suit. But one look at her fabric designs and you’ll know that the lack of strong drawing skills does not in any way hinder you from becoming a great fabric designer.
Let’s talk about creative freedom and designing for a fabric company.
How much creative freedom do you have when designing for a company? Do you feel like your creativity is stifled or not?
JF: I have a lot of freedom. Potential designs are discussed way ahead of time.
We all need to be happy with the designs. I don’t feel stifled. RJR Fabrics has been an excellent fit for me. I feel like I can spread my wings.
My fabric line – Hopscotch has 11 hand-drawn designs and comes in 84 colors. I smile every time I think about it.
I was given a great opportunity to create a ‘basics’ line with my signature drawings.
One of my designs – Triangle Symphony – was drawn with a pen, and not a pencil and it has two squares in it. I wanted them left in because I love the imperfection of it.
The Intricacies of Promoting Your Fabric Line
A Quilt Designed with Fabrics from “Hopscotch” – A Fabric Line by Jamie Fingal
CN: What exactly is involved in promoting your fabric line? Are all the marketing activities in conjunction with the fabric company or do you do some marketing independently?
JF: Working with RJR Fabrics’ marketing plan, I could create a marketing plan for myself.
Social media plays an important role here. I started talking about my line as soon as the fabric was delivered (3 months before market) on Facebook, Instagram, and my blog.
I wanted to have a consumer-driven plan so that people who follow me would ask their local quilting stores to carry my line.
I figure every bit helps in some way.
RJR Fabrics markets a line a few weeks before market. And continues to talk about my fabric line on social media and in their catalogs as they are published.
Step-by-Step Plan to Creating Your Own Fabric Designs
CN: You’re an artist, a fabric designer, an author, a teacher, and more. For someone who wants to expand their service offerings to include one or more of these options, what can you say to them about fabric designing in particular? JF: Look at your strengths in an artistic way.
What can you bring to the table? Make a plan.
Be able to verbalize who you are and what you create. Are you passionate about your artwork?
Research fabric companies online to see which ones would be a good fit for you.
Go to Quilts, inc to find out the criteria for getting into Quilt Market. It’s in the Spring (location changes) and in the Fall (Houston).
Create a portfolio of your work and how it would translate to fabric. (You could even have your designs printed on Spoonflower, then make quilts with that fabric for a full-circle presentation). Take the time and do it right.
Go to Quilt Market and talk to the powers that be; to show them your work.
You just never know what the outcome will be unless you take the leap.
Benefits of Creating a Fabric Line
CN: Thanks for that step-by-step explanation. Jamie, I’ve got to ask you this. How would you weigh the benefits of being a fabric designer? Is it a helpful way to build authority and name recognition in the industry or is it a lucrative money-making venture?
JF: I do think it’s important to build my brand and an audience.
It is good to get my name out there, and not just as a fabric designer, but as a quilter too.
I am a full circle artist. I want to see it through from design to fabric, to making wall quilts.
This is not a get-rich scenario. I don’t get paid until the fabric ships to quilt stores, and that is usually a year from the date I turn in my designs.
Patience grasshopper.
That’s why two or more lines would be better. Because you have the overlap. But, there’s a catch, because there is more work to be done if I choose to do it.
Some of The Work Involved in Marketing a Fabric Line
Jamie Fingal’s RJR-Fabrics Booth at Quilt Market to Promote Her Fabric Line
Making wall quilts (that’s all I make) to show the fabrics for the print catalog and for Quilt Market.
Designing a pattern that uses a charm square pack that is handed out at the School House at Quilt Market where my presentation takes place introducing my fabric line and everything made with the fabrics to an audience.
Designing a pattern that might get picked up by one of RJR Fabrics’ large clients. I can do these things, or I can ask RJR Fabrics to find makers who do this on a regular basis.
It’s all about choices and listening to what people want.
For this line, I wanted to reach outside of my comfort zone and design the pattern for the charm packs and one that could be marketed to clients.
The ‘Art Haus’ below is sold as a kit at Missouri Star Quilt Company.
It made me giddy to see it in their store.
“The Art Haus” by Jamie Fingal – Designed with Hopscotch Fabric Line
Jamie’s Five Favorites
Havel’s Scissors, because they have serrated blades that hug the fabric when you cut. I love their rotary cutters, rulers, cutting mats and snips.
Mistyfuse, a fusible web that doesn’t change the hand of the cloth and is easy to use, sew through by machine or by hand. It works every time in cold and hot weather. This product gets me to where I need to be in my designs, which are all raw edge applique.
Sizzix die cutting machines – to save my hands, I use dies to cut 7 layers of pre-fused fabrics for my quilts and other projects
Bernina 750 QE – my personal favorite brand
National Non Wovens wool blended felt (WCF001) that I use instead of batting and I never had to do a binding. It’s a finished edge. I back it with another layer of wool blended felt too in black or a fun color!
Jamie Fingal ‘s Tips for Becoming Successful at Fabric Designing
Just do the work – practice, experiment, create a body of work. Find out what your strengths are and make a portfolio of designs that you are passionate about.
Start a private Facebook group with friends who share some of your same interests. This is a great way to learn from others and they can learn from you. It is important to surround yourself with positive and encouraging people. Having honest feedback will enable you to grow as an artist.
Have a social media presence on Facebook and Instagram. Start posting what you create. Build your audience.
Start a blog with your full name on it, and start sharing the things that you love to make. This also helps get your name out there. It also helps with your writing skills, and you never know where this will lead.
Do some research on magazines that take submissions, and try your hand at writing an article.
Be a good listener with everything that you do. You don’t live in a vacuum. Be humble. Be thankful. Know what is out there in the world of fabric design. Take notes. Be authentic.
CN: Congrats Jaime. You have a beautiful fabric line. And thanks for taking the time to shed some light on the fabric design business for us.
It’s all about choices and listening to what people want.
This is not a get-rich scenario. I don’t get paid until the fabric ships to quilt stores, and that is usually a year from the date I turn in my designs.
Be able to verbalize who you are and what you create.
I challenge myself to not use a pencil. That has been a huge growth experience for me.
I hope you enjoyed my interview with Jamie Fingal as much as I did. Are you interested in becoming a fabric designer? What questions do you have about fabric design?
In this episode of Textile Art Business Interviews, we’ll be discussing fabric design. I’ve got Jeni Baker here with me to help us with that. Jeni is a fabric designer, a teacher, an author, a quilt pattern designer, a quilter and the author of a very active blog. She has a degree in Marketing and Studio Art from Baldwin-Wallace College
It’s my pleasure to welcome Jeni to the blog.
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Jeni and I discuss:
Why she brought her sewing machine with her to college
What’s involved in designing for and licensing fabrics to a big company
How she controls her fabric stash and the effect it’s had on her life
Jeni’s five favorite tools and tips for designing fabrics
Short on time, but still want to check out the interview? Grab the free pdf Jeni Baker’s Interview and enjoy at your convenience.
CN: Hi Jeni. It’s nice to have you here today to talk to us about your business. Welcome to the Clara Nartey blog.
JB: Hi Clara, thanks for having me!
CN: Jeni, tell us about your story and how you got into sewing and quilting?
JB: I’ve been crafty since I was a kid. I received a “learn to quilt” hand sewing kit when I was eight, and I used it to make a small patchwork pillow for my dolls.
By eleven I was sewing on the machine, making tote bags and doll clothes.
When I left for college I brought along my machine and sewed in my spare time.
My junior year I moved into my first apartment and decided to make my first quilt. I haven’t stopped quilting since!
Jeni Baker’s Sewing Room
CN: What is it about fabrics that you love so much that you brought your sewing machine along with you to college?
JB: I’m not sure, I just love to make things.
Through middle school and high school, I was spending my allowance on clearance fabrics from big box stores. I was quickly attracted to bright, retro-style floral prints and little geometrics.
I also made and sold doll clothes in college to earn pocket money, so that certainly spurred on my decision to bring my machine along.
CN: I see that you control your fabric stash by keeping track of how much fabric you have coming in and how much goes out. I must say that I’m very impressed with your dedication. What motivated you to start doing this and what effect has it had on you?
JB: It’s been a fun experiment. I was getting overwhelmed by how much fabric I had and knew I needed to change my habits.
We’re moving out of state at the end of this year, so the thought of moving my fabric stash has added an extra layer of encouragement to get things under control.
It has forced me to be more thoughtful about buying things I really love. It’s also a great motivator to finish up projects, make gifts instead of buying them and purge my stash on a regular basis.
Creatively, it’s been great too. It often requires extra problem solving and really puts “make do and mend” to the test.
CN: Jeni, that has been my experience too. I find that controlling my fabric stash makes me more creative. So, I’m an advocate for keeping limited fabric stashes. Let’s talk about fabric designing. When did you start designing fabrics and why?
JB: I started designing fabrics in 2012. I came to it in a pretty untraditional way.
I had been working with this company’s fabrics and sharing my projects on social media and my blog.
They liked what I was doing, and approached me about designing fabrics for them. I honestly hadn’t even considered it before then.
Designing Fabrics without Any Drawing Skills
Jeni Baker’s Booth displaying her Geometric Bliss Fabric Design Collection
CN: Oh wow! So, you were asked to design fabrics as a result of creatively using one company’s fabrics. Not because you had any ambition to become a fabric designer. It’s very interesting to hear the various paths we all take to arrive at our destinations.
So Jeni, how do you design your fabrics? Are you drawing on paper, or on a device? Are you looking at your quilts and picking/cropping particular patterns down into fabric designs? What exactly is involved in designing fabrics?
JB: When I first started, I tried sketching things out on paper first, but quickly found it wasn’t the best method for me. Drawing is not my strong suit, and I’d quickly become frustrated working that way.
Instead, I found that working with a Wacom tablet that allowed me to draw directly into the computer made more sense for me. Most of my geometric designs were created with shapes that I manipulated directly in Adobe Illustrator.
For many of my floral designs, I would visit nurseries or gardens and take photographs that I could then trace and manipulate in the computer.
Since I’m not a fine artist, I used a variety of techniques in my design work.
All my designs were developed and finalized in Adobe Illustrator. I was also responsible for making my own repeats.
CN: Jeni, can you explain? What are repeats in a fabric design?
JB: Repeats ensure that when the design is printed on fabric, there are no unsightly seams in the fabric design. I worked with Pantone Fashion + Home colors to color my designs.
CN: Just to explain, Pantone Fashion + Home colors is a universal coloring system that helps you choose specific color codes so that your fabric design company can match the printing to your chosen codes for a perfect outcome.
What do you think, Jeni? Is there such a thing as a good design and a bad design? In other words, are there designs which will not work well as fabric designs? How do you tell the difference?
Things which Make a Good Fabric Design
Jeni Baker’s Fabric Design – Color Me Retro
JB: It depends a lot on the intended use of the fabric. I designed fabric intended primarily for home sewing consumers, which includes quilting, small home décor, and accessories. Some of my designs were also used on apparel fabrics.
There are things you need to consider depending on how the fabric is going to be used.
In my opinion, the biggest factors are scale, directionality, and color. In general, large-scale prints work better for apparel than for quilting.
For color, it can be difficult to place complementary colors directly next to one another without a neutral in between because the colors can bleed into each other.
Some colors are also more popular than others. Being thoughtful about directionality is important as well.
Does a print have a distinct top and bottom (one directional), or can it be turned any which way (multi-directional)?
That’s a few of the factors to consider when designing.
So, to answer your initial question, I think that there are appropriate applications for almost any print, it’s a matter of having a good mix and considering how the end consumer will use it.
How to Pitch Your Fabric Design to Companies
CN: So, generally, after someone comes up with a design then what? Do they create a portfolio of designs and look for a company to license their designs to? How do you go about marketing your designs?
JB: I got lucky and sort of fell into a design job. I hadn’t even thought about designing fabrics let alone actually designed anything.
However, most of the time, prospective designers build up a portfolio of potential designs and then approach fabric companies.
A lot of times this can be done digitally, by sending your designs directly to the company through their website or via email.
There is also a trade show, Quilt Market, that’s held twice a year (in May and October), where you can meet in person with fabric companies to pitch your designs.
How Licensing Works in the Fabric Design Industry
CN: Generally, how does licensing work in the fabric design industry? Do you get into licensing agreements with multiple companies simultaneously or are you required to have exclusive agreements with one company at a time?
JB: I can only speak to my personal experience, which was an exclusive agreement with one company.
With licensing, you retain copyright of your designs, and you are simply giving the fabric company permission to print your designs on fabric. In my case, I make a royalty on my fabrics that are sold.
Time Between Signing a Design Contract till Fabrics Are Printed
CN: How long does it take between signing a licensing agreement to seeing your designs in print?
JB: This varies a lot by the company, depending on how far in advance they require final designs. I signed a license agreement in August of 2012, and my first fabric collection shipped in February 2013.
CN: Umm!! That’s over a year. That’s a long time to wait for the fruits of your work to manifest.
How to Make Time for Juggling Different Creative Projects & Business
Jeni Baker’s Booth displaying her Curiosities Fabric Design Collection
CN: Jeni, I’m curious. You design fabrics, you publish patterns, you sew, quilt and blog. What is your secret? How do you make time for it all?
JB: My secret is constant evaluation of what I’m working on.
I designed fabrics for three years and then decided to end that part of my business. For a while, I was designing fabrics, publishing patterns, blogging, and teaching locally.
I wanted to write a book, so I took a break from designing fabric to do that. When I finished the book, I realized that I needed to cut a few things from my to-do list to stay sane.
I am always reevaluating the things I do, and trying to focus on the things that I really love and that I feel are most important to my business.
CN: Sewing, quilting, and designing fabrics are all fun things to do. What was the mindset that helped you craft a career out of doing these things that most people only do for fun and as their hobbies?
The Inspiration for an Entrepreneurial Mindset
JB: My Dad is an entrepreneur and that inspired me at a very young age.
As a kid, I would sit at the end of the driveway and sell painted rocks, friendship bracelets, and lemonade.
In high school, I started an Etsy shop selling doll clothes, handmade jewelry, and scrapbooking supplies.
In college, I ran an online shop selling vintage bedsheet fabric.
I have always had that drive to do my own thing and run a business.
I fell in love with sewing and it was a natural progression for me to turn my hobby into a business.
I also happen to love math and problem solving, so designing and writing patterns is a good fit for my skills.
CN: I think that is important- to have the drive to do your own thing. Jeni, there are two segments I include in every interview because readers really enjoy these segments. They are your five favorite tools and 6 business tips.
Jeni Baker’s Five Faves
Adobe Creative Suite – I could not run my business without it. From fabric design to pattern design and blogging, I use these programs every day. Photoshop and Lightroom for photo editing, Illustrator for fabric design, pattern diagrams and any other graphic design I may need, Indesign for laying out print materials including my patterns, business cards, and postcards.
A good quality iron – I’ve gone through a ton of irons over the years and I finally found one I love, the Reliable Velocity 200IR. It’s held up well to my daily use and has amazing steam.
Camera – I am constantly going on “inspiration trips” around town to look for interesting designs and color combinations. With the advent of smartphones, it’s so easy to always have a camera with you. Be open to finding inspiration anywhere, you’d be amazed by how the most mundane things can spark an idea for a fabric design.
Maintenance chart – This is more of a tip than a tool, but it’s really been useful for me. I keep a chart in my sewing room where I can mark down the dates that I change my machine needle, my rotary cutter blade, and my machine cleanings. This makes it easy to determine at a glance if it’s time to refresh anything.
Bone folder – I use this tool so much. It’s great for creasing paper and fabric (when you can’t use an iron). Plus, I use it to open and close my pattern bags when I’m assembling printed patterns. I love tools like this that are not only inexpensive but can be used for many different things.
Jeni Baker’s 6 Tips on How to Start Designing Your Own Fabrics
Just start. When I was designing collections, I would design nearly four times as many prints as I needed. Then I would weed through the fabric design and figure out which ones needed more work and which ones just weren’t right for that collection. This took some of the pressure off for all my prints to be perfect.
Save unused or incomplete designs. Sometimes I’d design something that wouldn’t work with a theme or prompt, but had potential. I keep those designs in a specific folder that I can come back to later. Sometimes a design just needs a fresh set of eyes to figure out how to make it work or improve upon it.
Be thoughtful with your portfolio. Before pitching your fabric design to a company, organize your portfolio into mini collections. This way the person you’re pitching to doesn’t have to imagine how your designs would work in a collection. If you’re able, design some digital mock-ups to show how your designs would look on pillows, quilts, bags, etc.
3 More Tips on Fabric Design
Get involved in the industry. Start a blog or a social media account and interact with consumers and brands. This is how I got started! If you’re targeting a specific company, sew with their fabrics, and engage with them on social media. I think one of the things that helped me, was that I had an audience before I started in fabric design. This meant that there was a group of people who already liked my work and my projects, and would probably like and/or buy my fabrics.
Be aware of trends. For me, this was more about looking at what I thought made successful collections successful. That collection that everyone has to have, what about it do people like? This involved a lot of inward reflection too. Look through your fabrics, think about why you bought a print or collection. What colors or designs are you drawn to? This is a great way to figure out your personal style.
Take matters into your own hands. Not ready to license your designs to a big fabric company? Try Spoonflower! Spoonflower allows you to digitally print your fabric design on demand, and you can even offer your designs for sale through their site. It’s a relatively inexpensive way to test designs out, and you could even make up some samples using your designs if you decide to pitch to a fabric company.
CN: Thanks so much for appearing on the blog, Jeni. I was itching to ask you questions about creating and publishing patterns too. But I wanted to keep it on one topic -fabric design. I’ll love to invite you back to talk about patterns.
Creatively, controlling my fabric stash has been great too. It often requires extra problem solving and really puts “make do and mend” to the test.
Be thoughtful with your portfolio. Before pitching your designs to a fabric company, organize your portfolio into mini collections.
Take matters into your own hands. Try Spoonflower! Spoonflower allows you to digitally print your fabric design on demand, and you can even offer your designs for sale through their site.
To become a fabric designer, be open to finding inspiration anywhere, you’d be amazed by how the most mundane things can spark an idea for a fabric design.
In this episode of Textile Art Business Interview, I’ve got Cindy Grisdela with me.
Cindy is an award-winning artist, an author, and a teacher. Her formal education includes a BA in Fine Arts and an MBA. She improvisationally designs colorful abstract art quilts without a preconceived pattern in mind. It’s my pleasure to welcome Cindy Grisdela to the blog today.
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Cindy and I discuss:
The two paths for selling your artwork
The number one reason artists have difficulty with selling their work
How to promote your work without being salesy.
Her favorite tools and Tips for selling your artwork
Short on time, but still want to check out the interview? Grab the free PDF Cindy Grisdela’s Interviewand enjoy at your convenience.
CN: Hi Cindy, welcome to the Clara Nartey Blog for this episode of Textile Arts Business Interview CG: Thank you Clara, it’s a pleasure to be here.
CN: Can you tell us a little bit about yourself and how you came into textile art? CG: I’ve been sewing since I was old enough to reach the pedals of my Mom’s Singer, and I made most of my clothes as a teenager and young adult.
How Cindy got Started with Art Quilts
I don’t come from a quilting tradition since there weren’t any quilters in my family, but I was always encouraged to be creative. In my early twenties, I fell in love with quilts after I saw an article in a magazine.
I assumed that since I knew how to sew already, making a quilt should be no big deal. My first quilt was a queen size Trip Around the World, and I realized I had a lot to learn! But I was hooked on quilting and never looked back.
CN: Cindy, give us some insight into your creative process and how you come about making your beautiful art quilts. CG: I started out making quilts using traditional patterns, but somewhere along the way I got tired of using patterns and decided to see if I could come up with my own style. I love improvisational quilts because each design evolves organically as my choices of color and shape influence each other. It’s sort of like putting together a jigsaw puzzle, but I get to decide what the picture on the box looks like.
I love improvisational quilts because each design evolves organically as my choices of color and shape influence each other.
It’s sort of like putting together a jigsaw puzzle, but I get to decide what the picture on the box looks like.
Typically I don’t make preliminary sketches or drawings first; I just cut into the fabric to make shapes, put them up on my design wall, and play with them until I have a design that speaks to me.
Why Cindy Chooses to Work with Fabric And Not Another Medium
Cindy Grisdela in Her Studio
CN: I’m often intrigued to hear what made artists who’ve been exposed to different forms of art media chose textiles over the other media. What is it about fabrics that makes you like working with them? CG: I’ve tried a lot of different media over the years–drawing, painting, sculpture, pottery–but what I enjoy most about working with fiber is the tactile nature of the medium.
I can create an interesting composition with color, line, and shape, and then I can add another layer or dimension with dense free motion quilting. My stitching is more than just a way to hold three layers together; it’s an integral part of the design itself.
CN: That’s exactly how I feel about my stitching too. One question I hear very often from art quilters is, “how do I sell my work”?
The Two Paths to Selling Your Artwork
Cindy Grisdela Giving a Lecture
To my mind, there are two paths. The traditional path, which is the Art Establishment Path – through galleries, art consultants, art shows and more.
And the second path which is the Independent Artist Path, where an artist sells their work directly to collectors, through fine craft shows, open studios, personal online stores etc.
My question is two-fold. First, do you agree with my assessment of these two paths and second, which of the paths have you pursued in selling your art and why?
CG: Yes, I agree with you.
I’ve tried a number of different ways to sell my work–some from the first path and some from the second.
I found that I like selling my work directly to the customer through fine art and craft shows, open studios and through my website. The reason for this is that I believe that collectors buy the artist and his or her story as much as they buy the artwork itself. And no one can tell my story as successfully as I can.
The Number One Reason Artists Have Trouble Selling Their Work
Cindy Grisdela An Award Winner
You have to market yourself to be successful, but you can do it in a way that makes people happy to hear from you.
CN: A lot of people struggle to sell their work. In your opinion, what’s the number one misconception quilt artists have about their ability to sell their work? What is the mindset that holds people from being successful at selling their artwork? CG: The number one reason artists of any medium have trouble selling their work is they don’t want to market themselves–they don’t want to seem “pushy.”
Yu have to market yourself to be successful, but you can do it in a way that makes people happy to hear from you by being active on one or two social media sites and collecting email addresses at your events for a regular email newsletter.
CN: How do you balance producing your art and promoting it? CG: That balancing act is really tough. I probably spend 50% of my time making art and 60% marketing it. Yes, I know that adds up to more than 100% and that’s the problem. To be successful, you can’t just say “I’d rather be in the studio” and not be willing to put in the time to have a blog, a robust social media presence, write a regular email newsletter, and get yourself and your work out in the world. Nobody is going to beat a path to your door, no matter how good your art is.
CN: Well said Cindy, well said. So, what’s been your biggest challenge in selling your art and what have done or are you doing to overcome this?
The Biggest Challenge of Selling Art Quilts
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CG: The biggest challenge to selling my art has been educating customers about the idea of putting a quilt on the wall instead of on the bed.
When I’m out at a show, or anywhere else with my work, I think of myself as an ambassador for the art quilt. Because we’re involved in the art quilt world, we tend to think that everyone knows about it, but they don’t, and you have to be willing to explain why anyone should be interested in quilts as art.
This is not something most painters have to deal with. To help overcome this problem, several years ago I started mounting my smaller quilts on painted black canvas. That gives the piece more of a presence for the wall and allows me to offer a variety of price points in my booth for people who enjoy my work.
We Can’t Run Away From History
CN: You make a good point, Cindy. The concept of an art quilt as wall art is foreign to most people. However, that hasn’t stopped you from selling a lot of art quilts. Do you think there’ll ever come a time when art quilters will enjoy the acceptance painters have and they’ll not have to explain why they or their artwork should be taken seriously? CG: Unfortunately, I doubt it. Painting, has such a long history that many people feel it’s the only “real” art. That’s hard to combat, but I’ll keep trying!
CN: So, what exactly do you say to a buyer by way of an explanation as to why they should purchase an art quilt? CG: I emphasize the warmth and texture hanging textiles on the walls gives to a room, as well as the more intimate feel a quilt has compared to other types of wall art. Sometimes people are concerned about how to clean an art quilt, and I reassure them that a lint roller will do the job just fine. Most of the time it’s not a hard sell–if people aren’t interested in textile art they don’t stop in my booth, and if they have stopped and expressed interest in a piece, then they are already part way to taking it home.
Making Time For Creativity
Cindy Grisdela at the Ann Arbor Art Show
Making art is my passion and putting my work out there is my job….
CN: You’re a pretty busy woman. You teach, you travel extensively, and you maintain consistent open studio hours. How do you make time for it all? CG: I think of myself as a small business and every day I’m working at some aspect of my craft.
Making art quilts is my passion, and putting my work out there by teaching, lecturing, writing my book–Atful Improv, and traveling to shows is my job. I’m incredibly fortunate to be able to do what I love.
Each day I make a list of the things that have to get done that day and use that to organize my time. It helps that my boys are grown and out on their own now, and my husband is very supportive of what I do.
CN: You’re exactly right. I used the same concept for the title of my free ebook – “Win @ Work & Play”. Because I believe there are two parts to our creative lives. First of all, we have creating and following our passions, which falls under the play part. In addition, we’ve got promoting your creations so you get paid to play some more and follow your passion which falls under the work part of it.
Finally, Cindy before I let you go, there are two segments I include in every interview because readers really enjoy these segments.
(a) The first is this: “What are your five favorite tools, supplies and resources”?
(b) The second is, “What are 6 Tips you can give to someone who’s struggling to independently sell their textile artwork”.
Cindy Grisdela’s Five Favorites
Cindy Grisdela’s Five Favorites
My Bernina Sewing Machine
Instagram–a great way to connect with people who like your work
Cindy Grisdela’s Tips For Independently Selling Your Textile Artwork
Cindy Grisdela Business Tips
Make the best art you can.
Have a good looking website and keep it updated.
Choose one or two social media outlets and be actively involved in sharing your work and interacting with your followers.
Collect emails from people interested in your work and send out a regular email newsletter. These are people who WANT to hear from you.
Make work in a variety of sizes and price points.
Get yourself and your art out in the world as much as possible by doing things like these. Entering shows and hanging your work in the library. Furthermore, participate in an art group in your community–even if you’re the only fiber artist. Moreover, submit proposals, and say yes to opportunities that come your way!
Thanks Cindy for coming on to share your business insights with us. To learn more about Cindy Grisdela’s art quilts and her workshops, visit her website.
Interview Quotes & Highlights
I assumed that since I knew how to sew already, making a quilt should be no big deal.
I believe that collectors buy the artist and his or her story as much as they buy the artwork itself. And no one can tell my story as successfully as I can.
You have to market yourself to be successful, but you can do it in a way that makes people happy to hear from you
I probably spend 50% of my time making art and 60% marketing it.
Making art is my passion and putting my work out there is my job…
Warmest Regards,
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I’m glad to have with me here the first man on our Textile Art Business Interviews. Joe Cunningham is a multi-faceted artist. He’s a musician, a quilt artist and a writer and multiple times published author. It’s my pleasure to welcome Joe Cunningham to the blog today.
We discuss:
How Joe Cunningham got started in quilting and writing
Why writing is part of a quilting career
The gender question in quilting (Is quiltland a woman’s world)
The importance of quiltmaking as a viable way of making a living
Short on time, but still want to check out the interview? Grab the free PDFJoe Cunningham’s Interview. And enjoy at your convenience.
CN: Hi Joe, welcome to the blog and to this edition of Textile Art Business Interview. JC: Thanks! I am happy to be here.
How Joe Cunningham Got Started in Quilting and Writing
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CN: I’ve heard your story about how you played guitar at gigs to make a living. And how one of your gigs got you started with quilting. Can you tell the story for the benefit of those who haven’t heard it? JC: In 1979 I had returned to my hometown, Flint, after a year at college studying English. I had made my living as a guitar player for ten years and I wanted to become a writer. I was 26.
One night a woman named Gwen Marston introduced herself to me when I was on a break between sets and said she wanted to hire me to play guitar with her on some folk gigs.
Over at her house for rehearsals, I saw some boxes full of quilts and asked to see them. They turned out to have been made and collected by Mary Schafer, a great (if unknown) quilt maker from a town nearby.
Gwen had received a grant to document Mary’s collection and to write a short biography of Mary for the catalogue. She told me she was enjoying the project but dreading the writing, so I offered to write the catalogue for her.
Joe Cunningham Speaking at DeYoung Museum, San Francisco
This meant I had to learn about quilts, to interview Mary and to eventually learn to quilt myself. Soon, Gwen and I were making quilts together, studying quilt history and eventually writing books and articles together. We worked together through the eighties. Since 1992 I have worked solo. Now I live in San Francisco, where I have my studio.
Writing is Part of A Career in Quilt Business
CN: That’s very interesting. It explains not only how you got started in quilting but in writing as well. Mary Schafer may not have been well-known, but that book about Mary Schafer’s quilts will make sure she’s never forgotten.
You’ve authored many books, 11 in total. I want you to speak to your motivation for writing so many books. What are you trying to achieve with your writing?
JC: To me writing has always seemed like a single part of a career in the quilt business. (Writing is point #3 in my free ebook “Win @ Work & Play”)
To get serious work you have to become known in the business.
To make serious work you have to be able to articulate what you are doing and why.
And to study the history of quilts is to discover a beautiful realm you want to share with others.
CN: I love your answer, Joe. I really do. “You’ve got to do everything to stay visible in the quilt world.” What does it take to write a book and on average, how long did it take for you to write your books? JC: For a Dover book of patterns it is like a glorified magazine article, a week of hard work. For a scholarly work, it is more like a year-long project.
What it Takes to Write a Book
JC: What does it take? Well, you need to be able to write reasonable prose. You need to be writing about something that you know a lot about.
Also, you need to have the time and space, or you need to figure out how to make the time and space. You need to be realistic about it. So that when you finish the most important project of your career, you are not disappointed when the rest of the world barely notices.
Realistic Expectations From Becoming An Author
CN: When you say, “you need to be realistic. You don’t want to be disappointed when the rest of the world barely notices your newly published book”.What do you mean by that? JC: I mean that the most important thing you will have done, or at least among the most important things in your life, will be this book that you are getting published.
The exhilarating feeling of seeing your name in print is bound to be one of the high points in your whole career. And naturally, you will work as hard as you can to make it a complete success.
But the majority of books that are ever published are like the majority of movies or music albums ever made: the world barely notices.
When I say to “be realistic” I mean to watch out for the temptation to feel you have been treated unfairly by the world if your book is not a bestseller. In my opinion,
you should write books to contribute to the store of knowledge in the world, and you should not feel let down if the world barely notices.
How to Make Time for Things Other Than Making / Creating
Joe Cunningham quilting with friends in Gees Bend, from left: Lucy Mingo, Rita Mae Pettway, Florine Smith, Betty Setzer. 2009
CN: You just talked about making time and space. You’re not just a prolific writer, but a talented quilt artist too. In addition, you’re teaching and giving talks and lectures. How do you make time for it all? JC: I always try to remember that I am not in the business of production, I am trying to make something true. So sometimes, when I am on the road a lot, or during the years when my two sons were small and needed a lot of my time, I had to really focus on that idea, to remember that each quilt was going to take as long as it took.
Another thing to remember is that this has been my job since 1979, and you can get a lot done if you get to go to your studio every day.
CN: Many creative people feel that if you spend time on other ventures like writing, teaching, and selling, you’ll sacrifice the quality of the work you create. I don’t see any indication of that in your work. What do you have to say to that? JC: I think it all goes together, that every little thing you do helps everything else in your career. (By the way, Mickey Lawler literally says the same thing in my interview with her). There are many ways to go about making a living in quilts, and everyone has to find a way for themselves. I don’t think we can make general statements about what will work for us all. All I know is that this is the path that has made sense to me.
The Question of Gender in The Quilt World
CN: Good point!!! Let’s talk about your book on men in quilting. What impact do you think it’s had on the few men quilters and the mostly women quilters who probably didn’t know about the existence of their male friends? JC: I don’t think it has had much impact on women who make quilts. For men, I hoped it would let them know they were not alone out there, but the Internet has probably had more impact than my book. I hear from time to time that people have enjoyed the book, but almost never do they say they like it for the subject matter-they just like the quilts and patterns.
Joe Cunningham’s Handi Quilter computerized quilting machine
CN: In your book “Men and the Art of Quiltmaking“, this is what you wrote about being a man in the quilting world, “ I just assumed I was in a vanguard for what would eventually become a vast movement. Oh, how wrong I was. Men still occupy only a tiny corner of quiltland”. How do you feel about being only one of a few men quilters and do you see the trend ever changing in the future? Like women becoming doctors and engineers? Or will quiltland always be a woman’s world? JC: The thing about American quilt making is this: it is a realm constructed by women to make gifts for people. So, the fact that it was and is a woman’s world is built into the very DNA of the definition of it.
Yes, gender roles have loosened up considerably since I was a boy, but we have a long way to go before we have any kind of gender blindness in our culture.
The Importance of Quiltmaking as a Viable Way of Making a Living
It is especially true in quilts. I knew when I started that I was entering a women’s world and that I would be a guest there, not a native.
It would never occur to me to think that men would ever be more than a small percentage of the quilt world. That percentage might be growing as the possibilities for making a living at it grow. But I do think the quilt world will always be dominated by the women who created it.
CN: I totally agree with you, Joe. I believe that is true for both men and women. If we could find a clear path to make a living in quilting, there will be more people who will choose that as their careers. Since they already love making quilts. But instead, most people have resigned themselves to making quilts as a hobby.
About Joe Cunningham’s Art Quilts
Joe Cunningham At work Giving a Lecture. Both these quilts are now in museum collections.
CN: Let’s talk a little about your own art quilts. I love your work. Your work is large and abstract. While speaking about your work, you once said this … “To me what a quilt looks like is the last thing that I’m interested in. I just find out what it looks like by making it.” What did you mean by that statement? JC: Well, a number of things. I am not interested in seeing things I have seen before, and I find it easier to surprise myself if I am working directly with the cloth, instead of a drawing.
Also, I start with an idea, a subject, and I want to make a quilt on that subject, that will be true to it no matter what I end up doing along the way. I don’t worry about what it looks like, only what it is.
CN: Finally Joe, there are two segments I include in every interview because readers really enjoy these segments.
The first is this: “What are your five favorite tools, supplies and resources”? Secondly,
What are 6 tips to help someone successfully write books about art quilts?
Joe Cunningham’s Five Faves
Joe Cunningham’s Five Favorites
My 60” X 60” work table with a cutting mat surface. I have to make a look long cuts in my work and I could not make them without this.
My Rowenta Precision Pro Steam iron. It has a large water tank that connects to the iron through a hose, so I never run out of steam.
My Handi Quilter Fusion with a ProStitcher attachment. This system allows me to quilt anything in the universe.
Joe Cunningham’s Six Tips for Publishing Books About Art Quilts
Joe Cunningham’s Six Tips
Write what you want, so your enthusiasm is real.
Get to know anyone you possibly can in the publishing business.
Get the best photographer in town.
Study art history as well as quilt history, so you know what you are talking about.
Develop a marketing plan. All publishers will want to know what you are going to do to promote your book.
Persist.
CN: Joe, thanks so much for taking the time to do this interview. It was a wonderful interview. I really appreciate hearing your point of views. Many of them resonated with me. JC: Clara, the pleasure is all mine.
Interview Highlights and Quotes
To get serious work you have to become known in the business. To make serious work you have to be able to articulate what you are doing and why.
I always try to remember that I am not in the business of production, I am trying to make something true.
You need to be writing about something that you know a lot about.
Write books to contribute to the store of knowledge in the world
You can get a lot done if you get to go to your studio every day.
I’m excited to bring you this week’s interview. I know I say that too often. But I can’t help myself. It’s the truth. All the artists we’ve had on the blog are just amazing.
Today, I’ve got Kate Themel with me. Kate is an award-winning artist. She has a BA in Fine Art and has been working in fibers for 14 plus years. She creates some very stunning portrait quilts. Kate and I will be talking about art commissions. Kate has a lot of experience in this area.
We’ll be discussing:
Kate’s creative process, creative rituals, and how she started using textiles as a medium
How she started doing commissions for individuals and organizations
Setting boundaries and conditions so you don’t give away your artistic freedom when working on commissioned artwork
How to communicate with your art collector and so much more
And Kate shares her five favorite tools and supplies
CN: Kate, welcome to the Clara Nartey Blog and this episode of Textile Art Business Interview. It’s my pleasure to have you here.
KT: Thank you, it’s nice to be here
Kate’s Journey into Textile Arts
CN: Kate can you tell us a little bit about yourself? KT: I’m an artist living in Cheshire, CT with my husband and 2 sons. My studio is in our basement, which is very convenient. It makes it easier to find the time to work, even if it’s during odd hours. I’ve been an artist my whole life, using different kinds of materials. I made my first quilt in 1996 but started concentrating seriously on fiber art around 2003.
CN: You have a bachelor’s degree in fine art, right? How did you come to choose textiles as your art medium? Was this something that happened in college or after? KT: Yes, I have a bachelor’s in art, which gave me an education and experience with painting, drawing, sculpture, photography and graphic design. I didn’t get into fiber art until much later.
I started my first quilt (which I designed myself and sewed by hand) in 1996. It was a Christmas gift for my first son. I found the process really relaxing and fulfilling.
Also, using fabric offered me a way to work without the toxicity of paints, oil, turpentine etc. And it also let me work in smaller chunks of time, not worrying if my paints would dry up before I could finish a composition.
Kate Themel’s Creative Process & Rituals
CN: Kate, tell us a little bit about the techniques you use. KT: The way I create my compositions is very similar to a painting or collage. I cut out shapes in different colored fabrics and layer them together into a mosaic or layered collage. After they’re in place I sew the pieces with hand-guided machine stitching. The free motion stitching is similar to drawing. I use the stitch lines to blend colors, create texture, add small details and define certain shapes.
CN: We all have different ways of creating. What’s your own personal creative process like? Do you have specific times of the day you do your best work? Do you have any creative rituals you do before you get to work? KT: My best, productive hours are between 9 am and 2 pm which happens to coincide with my son’s school day. I tend to spend a lot of time in the “planning” process. I sketch several versions of a design, pick out the fabrics, work out a finished-size sort of paint-by-number pattern for the final piece and then get to work executing the plan.
As far as a ritual while I’m working in the “production” phase of the process… it involves loud music and a lot of coffee.
I work on one project at a time. In between projects, I have a ritual of cleaning my whole studio before starting the next thing. It kind of resets my brain a little bit. If my surroundings are disorganized and cluttered, I feel like my mind is disorganized and cluttered too.
How Kate got started Doing Art Commissions
“Boston Harbor#3”, by Kate Themel is one of 3 paintings on display at Centerpoint Advisors office building (Needham, MA)
CN: The other day when we were talking, you mentioned that “commissions” are a big part of your creative business. How did you get started doing commissions? KT: Over the years I had done several quilts that were gifts from one friend or family member to another. Or done at someone’s request. Baby quilts, custom pieces, etc.
One of the first major, professional commissions I did was for Yale University. The AACC (Afro-American Cultural Center) asked me to create a series of quilts to commemorate the 40th Anniversary of the Center. The building, known as “The House”.
A friend of mine was on the planning committee for the Anniversary events, and he recommended me to the Dean. We met and talked about expectations and subject matter, and they gave me a lot of freedom with the designs.
Set Conditions to Ensure Art Commissions Don’t Limit Your Creative Freedom
CN: I often hear people say they don’t do textile art commissions because they don’t like taking artistic directions from other people. Obviously, that’s not a problem for you. Why is it not? KT: I have certain boundaries and conditions that I stick to when accepting a commission. The work I create will be my personal interpretation of an idea that the client and I have agreed on.
I will make creative decisions along the way which may diverge from the original sketch or photo reference. I have enough examples of my work available for view on line and in person so that a client can get a good idea of the type of thing I do. They are hiring me for my artistic and creative skills, so they have to trust me to make design decisions as I see fit.
I only use materials from my studio, like the fabrics I buy from my trusted vendors. That way I can keep the consistency of quality for fabric, batting, thread, etc. Also, it saves me the time I’d take getting used to some new material. If a client insists on incorporating some special clothing or other items into the work, I can often accommodate them but I will charge a bit more for that.
How to Communicate Effectively with Your Art Collector
CN: Communication is very important when you’re doing art commissions. Collectors usually have specific ideas in their minds of what they want. How do you make that happen? What do you do to ensure they can easily communicate their ideas to you and you can, in turn, understand what they’re trying to get across to you?
KT: The initial concept meeting is the most important communication I have with the client. I make sure we both understand and agree to each other’s plans and expectations before any production work begins.
I like to start by asking the client what they would like to see in the finished piece. I’m not asking them what they want the artwork to LOOK LIKE necessarily. Most of the time, the client doesn’t know the answer to that – which is why they are hiring an artist!
But I ask them what they would like to SEE in the finished piece. For example, people commissioning a portrait want to see their loved ones. But they want to see more than the person’s physical appearance. They have photos for that. They want to see something of their loved one’s personality. Their soul, maybe. Something that reminds them of a life.
Another important question for the client is how they would like to use the work when it’s done. Will they use it as a memorial to a person or event? Is it meant to brighten up the waiting room at a pediatrician’s office? Will it be framed and hung on a wall? Do they plan to use it as a blanket? This information is more practical; it will determine how I construct the artwork.
Some clients are able to visualize the finished piece as we’re talking. Other times, I will come back with a quick sketch and general color scheme, to give them an idea of my vision. Before I cut the first piece of fabric, the client and I must both feel comfortable with the creative plan.
How to Price Your Art Commissions
“Three Amigos”, by Kate Themel was sold to a private collector in Boston, MA
CN: When you’re approached with a request for art commissions, how do you come up with your prices? Do you have a system? Do you charge upfront or wait till you’ve had a chance to figure out supplies, the time required and complexity of the request? KT: My prices and timeframe are based on the finished size. I found this to be the simplest way to estimate. At the moment my formula is $2.50 per square inch, and one month for every square foot of the finished size. So that’s my default setting. I do charge more for special circumstances, such as a very quick deadline or if the client wants me to use special materials like clothing.
I don’t charge anything for the initial conversation or consult, or for a preliminary sketch. However, once we decide on a size, time frame and price, and the client feels comfortable to move forward with the art commissions.
I charge anywhere from 20% to 50% of the agreed price up front before I start production.This allows me to buy materials but it also means the client is invested in my time and effort. When the finished product is delivered, the client can accept it and pay the balance, or they can reject it and we both walk away. In which case I would keep the rejected artwork as well as the initial deposit.
CN: How have you structured your payment schedules and contracts to work for your commissions? KT: Basically there are just 2 payments. The initial deposit and the final payment.
Should You Provide Work in Progress Photos or Visits for Art Commissions
CN: People approach this question differently. What’s your opinion on allowing your client to review your work in progress intermittently as you go along the creative process? KT: I’m more than happy to discuss all kinds of options during the design consultation meeting(s) but after that, I need to work alone. I do not provide “in progress” photos or visits while working on commissions.
The piece may go through several drafts and variations before I am satisfied with the design, and sometimes the final version looks very different than it did at earlier stages. I have found that sharing photos during different stages is confusing to the client and slows down the whole creative process.
With every commission, my goal is to meet or exceed the client’s expectations. If for some reason I find that a major part of the design or construction needs to be changed from the original drawing, I will communicate with the client to explain my reasoning and we can discuss the options. As the artist, I must have the final word on creative decisions, and I take that responsibility very seriously.
The Challenges and Joys of Public Art Commissions vs Private Art Commissions
CN: Kate, I know you’ve done both public and private commissions so you can speak on this topic. What in your experience, are the different challenges and joys of public commissions versus private commissions?
KT: The biggest joy of a public commission is seeing your work on display, and having people see it and mention it. Public commissions can also lead to additional work, which is nice. We’re all trying to make a living after all.
Private commissions are rewarding in a different way. Those are the ones when you are directly honoring a person’s loved one, pet, special experiences. They see the artwork and (hopefully) through it they feel joy and happiness and relive some good memories.
I did have a slightly difficult experience with one of my public commissions. No problem with creative freedom or the common vision for the piece.
But when it came time to fulfill the contract payments, they didn’t follow it and were kind of dismissive and bullying the way they treated me as an artist. I was young and maybe didn’t have the confidence to stick up for myself against a big client.
In the end, everything was paid as agreed but the payment collection process was an awkward and unpleasant experience. Since then I’ve learned to be more assertive, while always keeping communications polite and professional.
One of the toughest parts of doing private commissions, believe it or not, is diplomacy. Not every photo makes a great quilt.
Often people come to me with snapshots of their loved ones, asking me to create a portrait. But sometimes I need to tactfully explain that the photo is not usable (not that their loved one isn’t beautiful!) They look at it and see only the beauty of their beloved family member.
They don’t notice that it’s over exposed and washed out, or the person has their eyes closed, or they have a strange expression. Or it’s out of focus or such low resolution that I can’t pick out any facial features, or there are odd shadows across the person’s face which obscure the shape of their face. Things like that.
We can usually resolve it with additional photos. I just need enough to see the person or pet I’m meant to interpret into fabric.
How Art Commissions Affect Your Ability to Build a Cohesive Body of Work
“Sea of Imagination”, by Kate Themel is currently hanging in the Yale New Haven Pediatric Specialty Center at Long Wharf (New Haven, CT)
CN: Some artists worry that doing commissions will mean they can’t experiment and create the kind of work they like. And thus, it’s difficult to create a cohesive body of work when you do commissions. Do you agree?
KT: No, it’s not a worry for me. That could be a problem if you allow the client to dictate the style of your work. If that is the case, you would have a hard time creating cohesive work. You will also probably get burnt out with commissions because they won’t be very fun to do.
My position is this: If a client wants to hire me because they’ve seen my other work and like the way, I put together a design. So they’re already OK with the kind of work I like to do. I’m open to different color palettes, subject matter and such. But I don’t change my personal style or my artistic voice unless it’s a direction I already want to go as an artist.
If the person doesn’t know me or if they just want someone to sew some specific fabrics together according to their own specific design…. Then I have to politely decline the commission. Someone else can do that. They don’t need my particular skills and artistic sense. I’ve had to do this exact thing before and lost out on a potential paying commission. I don’t regret it.
Grab your copy now!!
Kate’s Favorite Part about Doing Art Commissions
CN: What do you love about doing commissions in general? And what is the most undesirable part of doing commissions?
KT: In general, my favorite part about doing commissions is frankly, being able to create work that I know will be sold. That’s the truth. I love doing portraits – especially the furry faces. And I like having a starting point. The commission provides an idea, an inspiration. So I’m not always generating that by myself. It makes me feel connected to the clients as people, similar to a collaboration.
The undesirable part is the double edged sword. I’m not always generating the ideas by myself. It’s fun but it’s not as fun as creating something from start to finish. Bringing something from within my own mind into reality.
Conditions Under Which Kate Will not Accept Art Commissions
CN: Was there ever a time when you did not accept a commission? If so, why? If not, are there conditions under which you’ll not accept a commission?
KT: Yes, I have.
For the most part, I’ve been able to work with clients and come to an understanding about a commissioned piece. But there have been one or two occasions when I had to pass it up.
One example was a client who wanted me to create a grid-format, blanket quilt, made from T shirts. There are a dozen websites who advertise this type of thing. I have nothing against them. I declined the commission because for me to do it would be very expensive for the client and the end product would be no better than what they would get from another T-shirt-quilt-making business. So I suggested a few sites that the client might want to investigate, and we parted on friendly terms.
Do Art Commissions Compromise Your Quality of Work
“Yale Anniversary”, by Kate Themel is part of a 7 quilt series, currently hanging in the Afro-American Cultural Center at Yale University (New Haven, CT)
CN: I’ll like to circle back to the topic of creativity. Do you find that running a creative business impedes your ability to create your best work? How do you personally handle that?
KT: No. Running a business doesn’t prevent me from creating my best work. Just because it’s a commission doesn’t mean it can’t be your best work.
When you run a business you need to consider other goals. Such as paying your bills and not wasting materials. And making time to talk to people about your work, and yes sometimes getting out there to market yourself.
And it means you don’t have the luxury of ONLY working when you feel inspired.
However, it’s not always easy to think freely and creatively while also keeping track of business needs. Sometimes I need to get out of “business mode” and switch to “creative mode” which creates a kind of dead zone in my creative process. If I stay too long in the business mode it’s a little harder to get up and running again on the creative side.
Kate’s Business Philosophy & More
CN: Kate, I don’t know about you. But I find that a lot of our resistance to building creative businesses have to do with our mindsets. What is your personal philosophy that helps you to be successful in your creative business? KT: My philosophy is that I will create the pieces that I love and that I would hang in my own house. That way, if they don’t sell, I’m happy to have them around. And I trust in my own taste. If I love it, someone else out there will love it too.
CN: How do you want to be remembered? KT: That I added beauty to the world.
And now to the two reader favorites of my Textile Art Business Interviews.
Kate Themel’s 5 Faves:
Husqvarna Viking Mega Quilter sewing machine – I actually have 2 of this same machine, so I can still use one when the other is out for cleaning/ maintenance.
A good camera – for taking photos of anything and everything that moves me, and also for documenting my work and entering shows.
Kate’s 6 Success Tips for Successfully Accepting and Creating Textile Art Commissions
Start local – let people know that you’re interested in doing commissions. Tell friends, family, coworkers so they can help spread the word.
Always have your business cards on you, and don’t be afraid to give them out.
Online presence – Create and maintain a professional looking website. This is essential. As a visual artist, you need your work to be seen. Put the extra time and effort into high-quality photos of your work. Keep your website up to date!
You should always, always, always, RETURN YOUR MESSAGES. I understand the need to work and not be interrupted. I don’t answer the phone or the door while I’m working. But I set aside time to check messages and return calls & email as soon as I can. If someone reaches out to you with a question or an invitation, answer them. You don’t have to say yes to everything but at least give them a reply and thank them for their interest in your work.
If you can afford it, join a professional organization, like SAQA or CT Women Artists. We are often isolated in our studios. It can get kind of lonely. It’s helpful to have support and encouragement from other artists. Bigger organizations have resources and reach, to get your name and artwork out there to a larger audience.
Do excellent work. Big or small, treat every art commissions like your signature work. Your name will be attached to it forever.
Thanks so very much Kate. This has been great. Finally, here are
Interview Highlights & Quotes
I have certain boundaries and conditions that I stick to when accepting a commission.
My favorite part about doing commissions is frankly, being able to create work that I know will be sold.
I do not provide “in progress” photos or visits while working on commissions. I need to work alone.
Running a business doesn’t prevent me from creating my best work. Just because it’s a commission doesn’t mean it can’t be your best work.
I charge anywhere from 20% to 50% of the agreed price up front before I start production.
In this week’s interview, I’ve got with me, Cheryl Rezendes. Cheryl is a fabric surface design artist, an author, and a teacher. The multi-talented Cheryl and I will be discussing:
The unlikely story of how she landed her book deal and what’s involved in writing a book.
Why she switched from successfully working in a different artistic medium to textiles
How she built her art business even though art school doesn’t teach you to make money from your art
Why she creates fabric surface design instead of buying commercially available fabrics
Save to PINTEREST
Let’s dive in.
CN: Hi Cheryl and welcome to the Clara Nartey Blog for this edition of Textile Art Business Interview
CR: Hi Clara. Thanks so much for having me!
The Journey to Becoming a Fabric Surface Design Artist
CN: Cheryl, here on the blog we always love to hear the story of an artist’s creative journey. So, can you briefly share your story with us? How did you get into fabric surface design?
CR: I kind of came into the world of textile art and fabric surface design through a back door. I really have two stories that came together about 18 years ago.
Cheryl in her Studio
The first story is that straight out of high school and actually a year before I had even graduated I went to the school of the Museum of Fine Arts in Boston with a focus on painting and printmaking. I was there for their full 4-year diploma program.
In those days, art schools rarely prepared you for the world of making a living after graduation. So, like everyone else I was a bit stumped.
A view of Cheryl’s Studio
CN: Cheryl, sadly I don’t think that fact has changed very much. The “Starving Artist” meme prevails. There are still many artists (textile artists included) who don’t know how to make a living from their art. But I digress. Please continue….
CR: The second story begins when I was a little girl. I grew up with my Mom sewing on her little Singer Feather Light sewing machine on the dining room table every night after dinner.
She made elegant evening gowns, everyday dresses, fancy pillow cases and curtains as well as beautiful dresses for me. She also recovered shoes, handbags, and hats.
When I was in my early teens she became an interior designer. So, my world at home was filled with textiles of all kinds!
Another View of Cheryl’s Studio
The Decision to Choose Textiles Over Other Art Mediums
She liked to say that I learned how to sew by watching the discarded pieces of fabric as they fell to the floor while she was cutting out her next project.
So, it was a natural for me to make my living after graduating from art school by sewing. I was a stitcher in a designer workhouse and much later developed my own business making custom clothing with a specialty in restoring antique wedding gowns. All this while still pursuing my own artwork.
Shortly after my oldest son was born, it became clear that I couldn’t do it all. With my husband’s support and some financial backing from my Dad, we decided to give me a year to focus on just child rearing and painting.
I moved all the sewing equipment out of my studio – the industrial sewing machines and even the thread – and actually sold most of it! I then had a really productive year putting together a great body of work and had a successful run with my paper collages getting into galleries etc.
There was only one problem.
Fabric Design tools on the Table in Cheryl Rezendes’ Studio
I found that I missed fabric! I missed it simply running through my hands. And I missed sewing! I was really shocked.
About the same time, I discovered digital printing on fabric. I started printing images of my paper collages onto fabric. Then painting and embellishing them with thread, embroidery, and beads. From there I began employing all the skills I had developed as a painter/printmaker to fabric. The rest is history as they say.
Out of Many Fabric Surface Design Techniques, The Simplest Ones Endure
CN: Oh wow. What a story. For many people, once they work in textiles they find it hard not to return to this art medium. There’s something about the tactile nature of fabrics that appeals to fiber artists.
You talked about how you discovered digital printing on fabric. I know you employ a lot of different fabric surface design techniques. Which ones do you regularly use?
CR: You know, the truth is that in the end, I love the simplest ones the best.
Monotype printing with a Gelli plate, direct painting, stenciling, and stamping.
Don’t get me wrong, I’ll pull out a silk screen when need be and will love it when I finally haul out all the batik equipment for a week of batiking with soy wax and paint.
Cheryl in her studio
But it’s the immediate, simple things I love the best. A couple of years back I bought a Cameo Silhouette machine to cut my own stencil designs. It really transformed what I was doing.
Why Do You Need Fabric Surface Design When Commercial Fabrics Abound?
CN: So, for those who don’t know what a Silhouette Machine is. It’s an electronic cutting machine that you connect to your computer just like a printer. And then you can create anything on your computer and then cut it out on paper, fabric or vinyl.
The question some people will ask is why do you have to go to all the trouble to make you own fabric surface designs? After all, there are so many commercial fabric designs available for sale, why not purchase those?
CR: Clara, the answer to that question is different for everybody. Because my background and training is in fine art painting and print making I always see the beginning of an art piece (even a fiber one) as a blank canvas or a fresh piece of white paper.
I don’t use commercial imagery in my work simply because they aren’t mine. They don’t speak from my heart. Because they haven’t challenged what I see and how I see it. And because they don’t allow me to grow as an artist.
The discovery of image making and developing, and the anguish and struggle that go with the process of discovery aren’t there.
Don’t get me wrong though.
Cheryl Creating a Fabric Surface Design
I buy some commercial fabrics from time to time and I recently started making a quilt for my husband’s and my bed using some commercial fabrics. I’ve never actually made a bed quilt before. It’s fun, lighthearted and decorative.
But to get at the meat of who I am as an artist, nothing beats making my own imagery.
A Place for Commercially Designed Fabrics
For other artists, the commercial fabric actually propels them forward. They use that fabric like a palette of store bought paints. They mix them together and come out with something different.
For my students, I usually say that if your work is largely about the printed images themselves you should probably start making and developing your own images.
I have a student who was completely overwhelmed by a blank, white piece of fabric She started bringing commercially printed fabric to class and used them as a starting place for painting, printing, and stamping.
The end result looks nothing like the fabric she bought. They are fantastic! I learned a lot from watching her develop her process of making fabric. Because of my formal training, I have a tendency to follow the rules too much. She shook up my status quo.
But for me, there is nothing grander then looking over at my fabric stash, knowing that It is all my work. I have an inventory of images to pull from that are my own.
Cheryl at her sewing machine
CN: What do you do with the fabrics you create? Do you sell them or use them to make decorative items for sale or they’re just for teaching purposes?
CR: I make art quilts. Quilts that hang on the wall as fine art.
CN: In addition to teaching your fabric surface design techniques, you’ve also written a book on fabric surface design. Why did you decide to write a book on the topic?
CR: I actually didn’t decide. I had the great fortune in that my publisher came to me.
The Unlikely Story Behind Cheryl’s Fabric Surface Design Book Deal
I had just opened up a studio in the town near my home. It had a large classroom space and became my foray into teaching surface design.
I had a group of eight students who stayed with me through the first 22 weeks I was open. We met every Tuesday evening.
One of the students later became my editor at Storey Publishing. Apparently, they had already had the idea that they wanted to publish a book on surface design.
One of their authors, Gail Callahan also took the class and had encouraged them to get to know me. Of course, if I had known they were auditioning me for the part, I would have totally stumbled.
Cheryl in her Studio
CN: That’s wonderful. Your teaching led to you writing a book. Not too many people get book deals this way. What information did you need to provide to the publishers for your book? I figure you needed a book concept, and maybe an outline. Can you elaborate a little more on what you need to present to a publisher for a book deal?
CR: Well, even though they asked me to consider writing the book, I still had to go through the proper channels of having my concept accepted by the president and the financial department of the publishing company.
What You Need to Present to a Publisher for a Book Deal
So, I had to write a sample chapter and the table of contents. I had to write a detailed review of all the other books on the market that were in my category including what I liked and disliked about each book and what mine would offer to the market that was different than the others.
Because you see, they don’t want to publish a book on a subject that is brand spanking new. It needs to be part of a well proven and sought-after subject but with something new to offer.
CN: That’s a very important point, Cheryl. A lot of people are afraid of competition. But the presence of competition shows that there’s a market for your product or service which is important for the success of any business venture. If there aren’t enough people interested in what you’re doing the likelihood of success is slim. Please continue …
CR: Absolutely!… I also had to have photos to illustrate the sample chapter as well as other aspects of the book.
And then the editor had to consider the table of contents and my sample chapter to come up with a schedule of what it would cost to produce the book.
Then the financial department runs their numbers to figure out what it would have to sell for and how viable that retail cost would be in the area of its subject and of course how long it would take for them to make back their production costs.
Fabric Design by Cheryl Rezendes
So, it really takes a lot of time, thought and energy even before your manuscript is accepted.
The Exacting Demands of Writing a Book
CN: Can you delve a little deeper into what exactly it takes to write a book?
CR: It takes a great deal of time and stamina. The book took a total of three years from signing the contract to publishing. Six months of those three years it sat on my editor’s desk waiting for review and for the editing process to begin.
CN: Who would have thought it took that long to publish a book!!! Let’s step back for a moment. So, after you signed the contract for your fabric surface design book, what were the publisher’s specific expectations of you?
CR: It was kind of crazy actually. I had had other writing gigs. I had a weekly art column in my local newspaper for seven years along with some freelance writing for a few other fiber art magazines.
So, I was used to working closely with my editor. But in this case, I signed a contract that I would have the first draft of the manuscript on my editor’s desk one year to date.
Then they said goodbye – see you in a year! I was aghast.
Get it now!!!
About a month into the project I panicked and asked my editor to take a look at what I had done so far. I had questions – Was the format understandable? Did she like my written voice? I had thought what if after a year’s worth of hard work and research they took a look at everything and said, “Nah, that’s not what we had in mind. Maybe you should try again.” Yikes!
But she was happy and said to just keep going. I now know that these editors are super busy – working on several books at a time that include editing and photo shoots. They just can’t hold your hand along the way. If they like your table of contents and your sample chapter they figure you are good to go. Any problems they’ll tackle when the editing process begins.
Cheryl, I must say, panic and self-doubt plagues us all, especially when we’re working on something that’s “important” to us. I know it too well because I experience it often.
Making Time for a Creative Life & Writing a Book
Fabric Design by Cheryl Rezendes
CN: How did you juggle writing a book with creating new fabric surface designs? I bet you had to make some sacrifices and rearrange your life to focus on completing the manuscript. Can you speak to that?
CR: Not just writing a book and handling the other aspects of my art business but family life as well.
You know, all that is involved with the roles of being a Mom, wife, and daughter. There were many sacrifices for the whole familyand lots of writing in the middle of the night.
I even had to write through our summer vacation in Maine. It was kind of funny because we always had a family rule that there were no computers or devices allowed during this precious week by the ocean.
And there I sat at a rickety old card table on the patio that faced the ocean and wrote the color chapter. It took the whole week!
The Rewards of Becoming a Published Author
Cheryl Rezendes’ Fabric Design
CN: I imagine the sacrifice was all worth it, though. What effect did becoming a published author of a fabric surface design book have on your business?
CR: Plain and simple, it gave me credibility as a professional artist and as a teacher.
CN: If you had to do it all over again would you write a book? And why?
CR: Yup. There is nothing like it. I learned so much about myself and about the subject I was writing about.
Truth be told, some of the techniques in my book I had actually never even tried before.
So, I had to research them. Talk with other artists about them, talk with the manufacturers about the materials used to create those techniques and practice, practice, practice.
I am inherently a shy person. The whole process propelled me forward. I had to break free.
CN: I am too (a shy person). But the process was definitely a positive experience for you as I’d imagined, which is fantastic.
On behalf of my readers, what are your five favorite things? Readers love to experiment with the same things their favorite artists use.
Cheryl’s Five Favorites
Cheryl’s Fabric Surface Design Favorites
Living in the woods and thus being surrounded by nature 24/7.
My art journals
My camera for recording all that I see
Spray bottles from the Container Store for spraying paint on fabric. I couldn’t live without them!
My Cameo Silhouette (along with Photoshop to clean up my hand drawings and of course my computer, because the Silhouette doesn’t work without one.)
Cheryl’s Tips for Successfully Writing a Textile Art (Fabric Surface Design) Book
Fabric Surface Design Book tips
Understand from the beginning that it is really hard work and that you will be very tired for a long time.
You must schedule time every week to work on your book, whether it is writing or research or you will not meet your deadline.
You absolutely cannot leave the writing to the last minute. There just won’t be enough time.
Once your manuscript is handed in, you have to be available to the editor’s and photographer’s busy schedules for editing, rewriting and the photo shoot.
Be flexible but don’t be afraid to stick to your principles because if time is running out they may try to skimp on photos, the index or any other thing left to the end.
Have fun!! And be proud of yourself.
Final Thoughts From Cheryl
CN: Even though art school didn’t prepare you to make a living from your art, you’ve obviously made it work for you. How did you do it?
CR: I cobbled together a living with teaching, selling art and wearable one of kind clothing and scarves through galleries and high-end shows. Such as the paradise city art shows and the Baltimore wholesale craft show.
One thing you should know is that I have become the primary caregiver for my husband who has Parkinson’s Disease and my Mom who has Alzheimer’s. So I have scaled back dramatically.
I have temporarily closed my Etsy shop until I figure out what to do with it. I no longer make clothing except for hand dyed silk scarves. And I currently only work with one gallery. This has all happened in the past year and a half. Also no shows and no teaching for the time being.
I’m simply making my art. And fabric for my home use.
Fabric Surface Design by Cheryl Rezendes
CN: Cheryl, so sorry to hear about the health issues in your family. It’s been proven that art is good for therapy. And I’m glad you’re still finding time to make your art. As you rightly said, “Art is Life“.
I know you’ve started a new series of art pieces that reflect this stage in your life and that is keeping you “focused, grounded and sane” in the midst of all these life changes.
Keep being the awesome person you are.
Thanks for appearing on the blog and talking to us about how you wrote and published your fabric surface design book
To get to the meat of who you are as an artist, nothing beats making your own imagery – The discovery of image making and developing, and the anguish and struggle that go with the process of discovery.
There were many sacrifices for the whole family and lots of writing in the middle of the night. You must schedule time every week to work on your book.
I am inherently a shy person. The whole process (of writing a book) propelled me forward. I had to break free.
I love the simplest (fabric surface design techniques) the best
Writing a book gave me credibility as a professional artist and as a teacher.
Your Turn
What did you find most interesting about this interview? Share your comments below.
I’m very excited to bring you another Business Interview. This time we have an artist who creates her work from an embroidery collage mixed with other materials. You’ll remember that recently, I was enamored with the work of another embroidery artist and how she frames her embroidery collages behind glass.
Well, our guest today – Laura Bundesen- also creates vivid works of art with embroidery floss and fabrics. Her current focus is on the human brain.
In this interview, Laura and I will be talking about:
How she got started on her brain series and got involved with the neuroscience community
The compelling reason why you should offer art prints for sale in addition to originals
The difference between giclee art prints and digital art prints
Laura’s 5 favorite tools and resources and her business tips to help you create your own art prints
Let’s get to it.
CN: Hi Laura, welcome to the Clara Nartey Blog. Thanks for accepting my invitation to come talk to us about your Art Print Business
LB: I’m very pleased to be here!
CN: Please tell us a little about your background and how you got into fiber art.
LB: I’ve had a love affair with fabric and thread for over 30 years.
Embroidery Collage – Creating the cerebellum
I was the kid who embroidered all of her friend’s jean jackets in high school and my quilting mother taught me the art of crazy quilting when I was in college and gave me my first sewing machine.
I’ve been at it ever since. Over 20 years ago I developed the embroidered painting technique I still use now. It happened when I was working on a fully embroidered piece and couldn’t quite get the detail I wanted in a face. I picked up a paint brush and the rest is history.
Laura Bundensen’s Embroidery Collage Technique
CN: Laura, can you tell us more about your “embroidered painting technique” that you talk about? I figure you’re using embroidery threads and fabric scraps and adhering them together with spray adhesive. Are you also using paints? If so in what ways?
LB: First I lay down the basic brain image, using fabric scraps in an improvised collage directly onto artist canvas. A temporary spray fixative holds each piece in place.
Matching Thread Colors for the Embroidery Collage
Next step is to machine stitch the fabric into place using an invisible thread.
Then, I begin embellishing the brain by hand with embroidery thread, trims and sometimes I even add beads.
Once the brain is just the way I want it, I stretch the artist canvas onto stretcher bars and paint around the fiber work first laying down a gesso ground and then using acrylic paints.
Working around the fabric and thread requires a small brush and a steady hand. Most of my pieces are on gallery wrap stretcher bars with edges that are painted so they don’t need framing and are wired to hang in the back.
Adhering Fabric Collage and Embroidery Collage to Sculptural Form
CN: Do you create 3D work or only 2D? LB: Predominantly I make 2D Neuro art wall pieces. Occasionally I work in 3D, embroidering the fabric first before adhering it to a sculptural form using a permanent adhesive.
CN: Very fascinating!! I’ve seen some of your older work and they are beautiful. But when I look at your newer work, which is a series of brains, they make a much bolder statement. And they immediately make you stand out as a professional. My question is, what made you decide to work in this series?
How Laura Began Her Brain Series of Embroidery Collage
LB: I began the brain series almost accidentally. The first two were created for a fiber art invitational in a local gallery and I wanted to produce new work just for the show.
Fabric and Embroidery Collage – Work in Progress by Laura Bundesen
My boyfriend actually said “Have you ever thought about doing a brain?” and I went with it.
Soon after, I was commissioned to do another brain piece by a woman whose daughter had half of her brain removed when she was 11 in order to stop seizures that could not be controlled in any other way.
While working on these first three pieces I started researching the brain and how it functions and became fascinated with it. It really has been that and the response from the neuro community that has kept me working on this series.
I have a collector who is a pediatric neurosurgeon and I‘ve also sold to neuroscientists, neurologists, and individuals who are survivors of traumatic brain injury and brain cancer.
Hearing these people’s stories, and how my art inspires them really touches me and keeps me going.
Laura at the Brain Project in Toronto with her Sculptural Embroidery Collage
Most recently I’m participating in the Brain Project in Toronto. I’m one of 100 artists who created a brain sculpture that is on display on the streets of the city now through August 31st.
At the end of the show, the brains will be auctioned off in support of Alzheimer’s care and research. And, in November I will be participating in the Art of Neuroscience show hosted by the Society for Neuroscience at their annual conference in Washington DC with approximately 20,000 attendees.
Why Make Art Prints out of an Embroidery Collage
CN: I can see you’re now totally immersed in the neuroscience community. Oh, the places our art can take us. Very exciting, indeed!!!
Your original artwork is mixed – embroidery collage, fabric collage, and paint. But you create art prints of them for sale. Why did you decide to offer art prints of your originals?
LB: The handwork that is in every original piece is very time-consuming and because of that my originals have a high price point. Offering prints of the work allows a much broader audience to own and enjoy it.
Giclee Prints of Laura Bundesen’s Embroidery Collage
CN: I see you create limited editions of your prints. Why is it important not to sell as many reproductions of your original work as possible but to limit them to a specific number of reproductions?
LB: I limit the number of editions to create value for the purchaser and I sign each one and number it to record its place in the series. This also differentiates a limited edition from an image downloaded and printed from the internet, something artists need to be concerned about in the digital age.
CN: That’s a very important point. A signed copy is different from one that is downloaded and printed off the internet.
I see you use giclee printing for your reproductions. It’s a more expensive process than digital printing.
Why did you choose giclee over digital printing and can you explain to our readers what the differences are in these two types of printing?
The Differences Between Giclee and Digital Printing
LB: Generally, giclee prints are archival while digital prints are not – they use archival inks and archival papers and are usually printed from high-quality digital images.
I’d like to think my giclee prints will be around and bring joy to my customers for many decades and even generations.
CN: Laura, what is involved in creating your art prints? You must need a high-quality image to get a good reproduction. Do you hire a professional photographer or do you do it yourself?
LB: I use a professional photographer, John Polak. He is local to me and specializes in art photography.
Getting the best possible photograph to work with is especially important for fiber work so that the detail of the thread comes through.
Some print houses ask you to send them your original but I’ve never felt comfortable doing that so I went out of my way to find a local photographer. And, it’s always fun to watch him shoot.
CN: How did you ensure you’re going to get a high-quality printer? Did you request samples from different printers? Are you printing locally or online?
LB: I’ve tried several online giclee printers by ordering just a small number of prints the first time around to make sure I am happy with the printer’s job on my work.
I’ve been planning on trying out some local giclee printers too. And recently, I was extremely happy with an order of blank notecards I got from a local printer. And I was surprised that their price was competitive to online printers of notecards.
Get it now!!!
Pricing Art Prints
CN: Pricing is hard for a lot of artists. How do you price your art prints relative to your originals? Which of the two (originals or prints) do you find more lucrative?
LB: Yes, pricing is hard, especially for my originals, as the time-consuming hand embroidery means even small pieces can be expensive.
I actually keep my pricing for prints standard to size and presentation (not relative to the original piece) and it is also a reflection of the printing cost with a profit margin built in such that I can afford to offer them in a shop that will take 40-50% commission.
That usually translates to – The cost of print x4.
Making sure you capture the full cost of the print, including photography, shipping etc…is key.
Various Presentations for Art Prints
CN: Laura, since you just mentioned presentation, why don’t we delve into that? Are you selling your prints framed behind glass or unframed? And what’s your reasoning behind your choice?
LB: I mainly offer a canvas print and a framed paper print behind glass.
Framed Paper Print of Laura Bundesen’s Embroidery Collage
The canvas prints are the closest to replicating the original and I love the way the framed prints look.
Also, I can buy the frames at a bulk discount and the consumer ends up paying less than if they buy the giclee print and frame it themselves.
It also presents better in person at art shows. I usually keep some of the paper prints available to sell without the frame but I don’t heavily promote those or display them in a prominent place.
Laura, I ask every guest on this blog to share their favorite tools and resources with us. What are yours?
Laura Bundesen’s Favorites
Laura’s Five Favorite Tools and Resources
The Human Brain book by Rita Carter – fabulous information about all aspects of the brain plus great pictures! Laura you’re right! It’s got fantastic pictures. I actually own this book and the Human Body Book both by DK Publishing.
Embroidery Pocket Guide a laminated pocket-size encyclopedia of the most popular stitches and much more – for inspiration when I get stuck or am looking for a perfect stitch for a certain area.
Lots and lots of fabric donated to me by a bevy of quilter friends – I can use the smallest scraps!
My large cutting mat, rotary cutting tool, fabric spray adhesive (no favorite brand) and Gutermann’s invisible sewing thread (that’s the only brand I use)
Instagram – best social media platform for artists and a great place to make friends – find me @laurabundesen.
CN: Now, what’s your advice to someone who wants to start offering, prints of their original fiber artwork for sale?
Laura’s Business Tips
Start engaging with people on social media, network and pay attention to what other artists in your sphere are doing and don’t be afraid to ask for help or advice.
Think about what and how you are going to offer reproductions. You’ll need to decide about pricing, signing, limited runs, etc. before you offer the first print for sale.
Find a GREAT photographer – not only will you not need to send your originals out but you can use the digital images you get back on social media and your website too – so think about the cost of a photographer in terms of investing in your brand/image/appeal.
Set up internal record keeping for the number of prints sold and current inventory as well as costs, profit margins, etc.
Start a mailing list if you don’t already have one – I love MailChimp – easy and free to start. Make sure you add to it at every opportunity including art shows, networking, online, etc… I try to send out a newsy email just once a month and my list grows every time I do an event. This gives me an avenue for sending out notices of new products that are available.
Don’t order too many prints before you’ve tested the market. These days, you don’t need to order 100 prints up front for an edition of 100. As long as you do these things:
– keep track of the number you’ve sold,
– be careful with numbering the new ones and,
– stick to your original number of prints available.
CN: Laura, thanks for taking time to do this interview. I’m sure my readers have learned a lot from all that you’ve shared with us.
LB: My pleasure!
Finally,
To see the step-by-step process Laura uses to create her work, check out this blog post chronicling the process. To learn more about Laura, visit her main website.
Interview Highlights & Quotes
I was the kid who embroidered all of her friend’s jean jackets in high school
The canvas prints are the closest to replicating the original fiber artwork
Don’t order too many prints before you’ve tested the market
When it comes to pricing, making sure you capture the full cost of the print, including photography, shipping etc…is key.
Your Turn
What have you learned from Laura’s embroidery collage and mixed media art and her way of doing business? Share your thoughts in the comments below.
I’m so pleased that we’ve had such great talent every week to talk to in our business interviews. This week we have another talented artist here.
Terry Waldron’s artworks are installed in places like the American Embassy in Laos, Durham University Hospital, and St. John’s Hospital in Santa Monica.
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Terry knew at the young age of 4 1/2 years that she wanted to be a teacher. She went on to earn two Master’s degrees in teaching art and teaching English Literature. She received fellowships from National Endowment to the Humanities, to study here in the U.S.A and abroad in University of London, England and she was named the Teacher of the year for her school district.
After teaching high school for many years, Terry now teaches art quilting.
Terry Teaching
In this interview, Terry and I talk about:
How the sport of tennis led her to quilting
The challenges of the traveling teacher
The most important tool every artist needs (Hint: you’ve already got it)
Tips to help you become a better art quilt teacher
CN: So Terry, tell us the story of how you walked into a quilt shop because your tennis partner wasn’t going to be available to play with you?
TW: My Mom made all my clothes from the time I was little to the time I graduated from university. We’d go to the “garment district” in L.A. and find the fabric, and Mom would make it. She even made my senior prom dress, and it is still pretty! So I’ve always known about fabric, but what was a quilt?????
Terry checks in on every student in her classes
When my favorite tennis partner told me one day that she wouldn’t be there for the next 6 weeks for “Ladies’ Day” at our tennis club, I asked why, and Charlotte said, “I’m taking a class on quilting.” I said, “What’s a quilt?” She said, “It’s a bed covering, Terry!” I said,” That should take one day, but why will you be gone for 6 weeks… ??”
She showed me the quilt shop (a little cottage that contained cotton cloth in every room). I went in, and I’d never seen so much beauty, all divided into separate color sections. I asked the lady at the desk if I could learn how to do it, and she said, “Yes! And you might want to sign up for this class with Blanche Young, so I did. I bought the pattern, then I bought 1/8 yard pieces of 76 different cotton patterns, and I never looked back!
Eventually, Blanche and I became wonderful friends. In fact, she invited me to her house several times, and one year Blanche and I were both “Featured Artists” at the Orange County Quilt Guild’s yearly quilt show!
CN: Who are some of your heroes /heroines in the textile art world?
TW: Joe Cunningham is my all-time quilt hero. He is an abstract artist who thinks big. Binding tape traipses around the finished composition, directing the viewer’s eye all over the piece. Brilliant!
And, sometimes on Facebook, he posts the photos he takes of stuff that everyone else would just walk across, never noticing the patterns and textures that exist there. That’s what big-time artists do!
Terry makes her students laugh
CN: I know you love Joe’s work. That’s how you and I connected on Facebook – through one of Joe’s posts. Tell us about your techniques for creating textile art.
TW: The only thing I can say is that I have to see it first… in my head. That takes time, and I can’t hurry that along. Then I begin to make decisions.
The first is what will I use for the background. That informs the next decision, and that informs the next one. It’s like building a wall, I guess, but the wall is inside my mind and it’s beautiful!
Terry Waldron’s Journey to Teaching
CN: Terry, you taught high school English for more than 4 decades, right? And now you give talks and teach workshops about your art quilts. How different are the skills required to teach teenagers from those required to teach adults?
TW: All great teaching has nothing to do with the age of the students! It has to do with whether or not the “teacher” is really a teacher.
I remember the exact moment that I decided to be a teacher.
Terry Waldron Speaking
One day the teacher gave us each a piece of paper and a small package of crayons. (I was the youngest kid in my kindergarten class). And I drew a log cabin with a little roundish lake in front of it and a pine tree growing alongside that cabin.
In the back of the lake, I drew a log with a vine of flowers growing up behind that log. I finished my drawing with a bright orange and yellow sun shining up in the sky. It was then that I decided to be a school teacher! I never wavered after that drawing!
CN: So, as a high school teacher, what’s the most important thing you learned that has helped you in teaching quilt workshops?
The Real Art of Teaching
TW: The important thing about any sort of teaching is, “You MUST LOVE to teach if you want to be a true teacher”. Real teaching is GIVING! Real teaching is understanding that every single one of the students in a class is completely different from every other student.
A true teacher must know when to help, and when to leave the student alone. The only way that can be done is for the teacher to watch each student from afar to see when help is needed, and when the student is finding his/her own way successfully and doesn’t need help. It’s not as easy a thing as it sounds, either.
Most importantly, a true teacher must be quick to applaud the individual innovations and variations of each student’s work. There is no difference at all between teaching in any venue if you are a REAL teacher. But, it ain’t easy!
CN: How can a good artist become a good art teacher?
TW: The two are not usually in the same “wheel-house”. It’s very rare to see a fine artist be a fine teacher. But sometimes, a fine teacher might not be a fine artist.
Terry talks to early comers before the class starts
There are principles of design that are left out most times in the teaching of quilting, but they are absolutely necessary for creating a true piece of Art!
Repetition, variation, transition, and continuity are the principles. One of the most important elements is “implied line.”
I always teach it because it’s something that the viewer doesn’t need to know at all, but if the artist doesn’t know it… then there is no art… just craft. But that’s another question, I guess…
How Terry Makes Her Students Feel Comfortable in Class
Terry pulling her students in
CN: What types of quilt workshops do you prefer teaching and why? Multi-day workshops or short workshops?
TW: I like teaching a one-day class. My one-day classes are design classes, and each student learns design techniques that she can use forever after on all new pieces of work.
I ALWAYS give all my students my business cards.
That’s important to me! In my experience, the most important questions come when a student is back at home, continuing the work on the piece begun in my class.
I want all students to be able to ask me questions as they arise in the course of their creating.
Grab your copy now!!
In every class I teach, I stop the class one hour before it’s officially over so I can explain the sewing of the piece when the students are at home. The most important part of all is the designing of an original piece, after all. Without an amazing design, even the best quilting in the world won’t make it a piece of ART! It will just be another “quilt.”
The Life of An Art Quilt Teacher
CN: Terry, what are the challenges of being a traveling quilt teacher – traveling from quilt guilds to quilt retreats. And what do you do to overcome those challenges?
TW: The challenge is the traveling! All my expenses are paid by the guild or the large national venues that have asked me to teach for them.
Since I have lived in California, Nebraska, Connecticut, Texas, Georgia, and Montana in my life, I’m used to traveling.
Terry shows students how to choose fabric
I always ask the guilds what they pay for the teacher’s hotel, though, and that’s what I put on my invoice. Then I book a much nicer hotel, and I pay the overage, myself. It works for the guilds, and it works for me.
Real teaching is tiring, and I need my rest at the end of the day. The large venues that have asked me to teach already provide very nice quarters for their teachers, so that’s taken care of.
CN: What do you look for when you receive a request to teach a workshop? Do you have specific things which, if missing, will make you turn down a teaching request?
TW: I’m not a diva, and I can’t remember turning down a venue. I do love teaching. I’ve taught gangsters, AP Lit students who are smarter than I am, students who wanted to be teachers, and people who hated school with all their hearts.
I tell you honestly, I loved them all! It’s what I was born to do!
Now, I’ve decided that I don’t want to travel anymore, though. I’ve flown since 1962! It used to be a fun thing to fly somewhere and be picked up at the airport by the folks who were hiring me. It’s not fun, now.
I will take a gig if it’s within driving distance of where we live, only because I have a wonderful husband who doesn’t mind driving me there and back.
One-on-One with Students
CN: What gives you the most joy – teaching or creating art?
TW: Teaching and creating are completely woven into one another, and, like the old song said, ‘You can’t have one without the other…”
CN: What’s the biggest mistake you ever made while teaching a workshop?
TW: This sounds arrogant, but I don’t know that I’ve made mistakes. That comes from having taught high school since 1966.
I’ll leave it at that. I was department chair during those years, and I learned how to set up the classes for 220 students every day.
Teaching quilting takes lots less thought and lots less time than setting up a room for 220 students in 6 – 7 classes a day! But all that high school teaching taught me to be organized, I’m pretty sure.
Terry’s Five Favorites
I ask every artist I interview for their five favorite tools. Except that Terry doesn’t have five. She’s got only one. And here it is.
The MOST IMPORTANT TOOL that artists have is their two eyes! We live in Anaheim Hills, and every day I see trees of every sort. (I think of them as people who can’t walk away or talk, but have a long life like most of us do.) I pet the trees… yes, I do!)
I also love to stretch out on the grass and look at the little things that grow there. For instance, there is a “weed” that grows down the hill from us… It’s sooo small that most people never see it, but if you look very, very closely, it has a beautiful bouquet of peach-colored flowers.
Terry takes Students on a Field Trip to see a Tree
Each flower is so small that I have nothing that I can measure it with! But it is amazing.
In fact, don’t ever create a tree in your composition without having petted a real, live tree! You must stand under tree, too, to understand how tall they are.
When I am judging a quilt show, and someone creates a landscape with trees that are contained within the format, then I know that the person has never really studied a real, live tree!
The bottom line is: Use your eyes! Look at everything, every day, always!
Terry Waldron’s 6 Tips
Don’t hand out a pattern, and then sit at the front desk the entire time of the class. That’s OK for a sales lady to do, but if you call yourself a “teacher,” then you have to be one!
Students are paying me, so I work for THEM! I will give a suggestion where it’s needed, and I will FOR SURE explain WHY I’m saying what I’m saying. If the student has another idea instead, terrific. I did my job, and they did theirs. We were both thinking and working together. But I owe those students as much as I can give them. I’ll rest when I get home!
When we begin class, I always ask students to pull their chairs up to the front and make a circle. I sit in the circle, too. When the whole group sits together, it breaks down the walls. Students feel more comfortable about asking questions. That’s important because some students are shy, and they are afraid to ask questions. A circle of folks seems friendlier, and that makes it easier for everyone to learn and for the teacher to teach. Try it. It works!
I choose the prettiest illustrated paper for my “Materials Lists.” On the top goes the title of the class and my name.
Terry explains to her students the whys behind the creative decisions she makes
Under that, I write a little note to the class about choosing the fabrics for the class and explaining that it is a design class, but I will be available by email for any help, forever after.
Then I list the materials needed.
(I always remember how nervous I was when I took my first quilts classes. It always seemed to me that everyone knew lots more than I did.
Because of that, I decided to put a reassuring note on the top of all my materials lists. I just know that there are more students who are like I used to be, and I want them to feel welcomed, even before class begins.)
One Final Tip From Terry
I decided that instead of having “a business card,” I’d use 6 different pieces of my work for my cards. When someone wants my business card, I give them all 6 so they can pick the one with the quilt that they like the best. My picture is on the back, along with my contact information.
Lastly, love what you do, or don’t do it!
Terry showing the back of her work to her class
Thanks Terry, it’s been wonderful having you on TABI (Textile Art Business Interviews). I’m sure my readers will be extremely pleased to learn about you and how you run your business.
Visit Terry at her website TerryWaldron.com
Interview Quotes & Takeaways
Don’t hand out a pattern, and then sit at the front desk the entire time of the class.
Use your eyes! Look at everything, every day, always!
Real teaching is GIVING!
Without an amazing design, even the best quilting in the world won’t make it a piece of ART
I’m happy to be here again with Ann Brauer to pick up where we left off talking about her creative journey and creative business.
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In this second part of the interview we’ll be talking about:
Why Ann chose to build a creative business rather than continue in her trained profession
Overcoming the pressures of society’s perceptions on starting your own creative business
How to use fine craft shows to sell art quilts PLUS a list of such craft shows and
Considerations for choosing which craft show to participate in
Pushing Through Society’s Perceptions Against Creative Business Ownership
Ann Brauer’s booth at the OOAK Craft Show – 2016
CN: Ann earlier in this interview you mentioned that you had a fallback position you could have gone back to. Yet you still made sure your art quilts business worked. There must have been plenty of opportunities for you to fall back on your legal business, especially at the start of your art quilts business. Why didn’t you? AB: Was it Thomas Wolfe who said you can’t go home again.
I knew that if I were to continue doing legal research I would need to push myself to explore new options. Did I want to teach? Work for a firm? It would require taking more steps and probably moving back to the city.
I found that even though it was difficult living by myself in the country and making quilts, I liked the challenge and so I decided to make it work.
One of the hardest parts though was when getting chided by others that women had worked so hard to get into law schools and I was letting others down by my decision.
Those statements though did spur me to make the best quilts I possibly could to help calm those fears.
CN: Thanks for that honest answer, Ann. I know that a lot of us creatives struggle with society’s perceptions of what is a right or wrong way for us to earn a living. In my interview with Melanie Brummer, she talks at length about how we need to stand up to societal perceptions. Good for you that you were able to make it work for you.
CN: Do you have any regrets for not going back to legal research? AB: As to regrets–as you may have figured out, I like to make a decision, have a reason for it and then move forward.
I do on occasion let my mind wander to imagine how different my life would be if I had continued as a lawyer but I like my life as it is.
I do on occasion wonder if I made the right decision to continue making smaller works. Would I be treated more seriously if I did not make the potholders and eyeglass cases?
And yet for the first part of my career, I needed to make the smaller items to support myself. After that, I realized I liked having items that were accessible to many people.
I liked the freedom it gave me to shift with the marketplace and I felt an obligation to my customers.
In addition, I like to sew.
Making Time to Focus on Creating and Running a Business
Ann Brauer’s Booth at the Baltimore Craft Show- 2017
CN: Earlier you mentioned “being focused and stubborn”. Making time to focus on creating as well as running a business is another one of those things a lot of us struggle with. How do you structure your days so you’re able to do both? AB: Because my studio in Shelburne Falls is open to the public, I do have regular hours. I try to get to the studio an hour early so I can work on various business tasks before I am “open”. I also do some work on the computer in the morning before I leave for work. Some days I will work on more business tasks when I am in between quilts or taking a break.
CN: Do you teach or engage in other activities to make money from your artwork? And if so, what are they? Do you find them as profitable as selling your original work on Etsy? AB: I support myself by making and selling art quilts and decorative accessories. I use Etsy as my online shop to help with this activity.
I participate in a number of fine craft shows each year. Etsy is a good way for people to follow up when they are in a position to purchase.
I also get some postings from people who would not otherwise find my work. My marketing is a whole.
How to Choose A Craft Show to Participate In
Ann Brauer’s Booth at the Baltimore Craft Show – 2017
CN: Smart!! I see your marketing strategy is multi-faceted. Which craft shows do you participate in and how often do you do them? AB: The craft shows I participate in vary every year depending on
Which ones I get into,
How frequently I have done a particular craft show,
The ease of doing the show,
My schedule and whether I have a good rationale for doing the particular show
If I feel the promoter does a good job?
Whether my market there?
If my customers expect me to be there?
People I know who are doing the craft show?
What my friends who have done the craft show before say about it?
A List of Fine Craft Shows
Ann Brauer’s Booth at the Baltimore Craft Show – 2017
The Berkshire Craft Show—such a sweet little show with good quality work that I can actually drive home from every night
The Morristown Craft Show in New Jersey where I do have a large mailing list in an area that I haven’t shown at for a couple of years
The Memorial Art Gallery Show in Rochester NY—another sweet show with a limited audience that I haven’t shown at for about 10 years and
The OOAK Holiday Show in Chicago—huge attendance in the center of the city and a market I hope I can build.
Next year—who knows although I have already begun considering possibilities.
The Relationship Between Participating in a Craft Show and Your Online Sales
CN: Oh wow, that’s quite a busy craft show schedule!!! With your heavy participation in craft shows and multi-pronged marketing approach, would you say craft shows have been the biggest source of client referrals to your Etsy store? AB: Actually, according to my statistics my largest source of referrals to my Etsy store is Etsy.
I also get referrals from different social media, my blog, my website and of course craft shows.
When I do a craft show, I do often notice a rise in purchases from that location. I also presume that some of my sales on Etsy are from people who know my name and recognize it on Etsy.
CN: Ann, since you’re getting clients from different places – craft show, social media and other places to your Etsy store, are you photographing the work for your Etsy store yourself or are you using a professional photographer? AB: I have a professional photographer who takes images of my larger quilts for shows and my website, however, I do take my own pictures of the smaller items using my iPhone.
It can be a bit of a challenge to take 5 images of a piece that convey the essence of the piece and I do have stock shots that I use frequently.
Other people take much more interesting photos of their work and I do sometimes aspire to make my smaller items more part of a tableau.
Setting Up A Craft Show Booth
CN: Ann, from my experience setting up my first outdoor exhibition, I know set up at a craft show forms a major part of the work involved in selling at a craft show. How do you usually set up your booths? AB: I normally use my booth I purchased from Flourish.com. It consists of 1-inch steel poles with drapes. I then add light fixtures, a rug and the Abstracta stands. This arrangement is sturdy and gives me flexibility regardless of the size of the booth I get. I fit it all in my Honda Odyssey with the middle row of seats removed and the back ones folded down.
CN: Sounds great. Now, could you share your five favorite tools with us? We love to learn and use what other artists are using.
Ann Brauer’s Five Favorite Tools and Resources
I love my Singer 281-3 Industrial Sewing Machine from 1965 with its Servo motor. I have had this machine since 1983. It has a wonderful table. When I lost my studio as a result of Tropical Storm Irene, my husband was able to pull it out and friends reconditioned it. I design my quilts around my sewing machine. Watch this quick video to see how awesome this sewing machine is.
I love my studio. It has north and east light, 10-foot ceiling, polished cement floors and allows me to work here and also display my complete quilts.
My anti-fatigue rubber floor mats in the work area are great. They let me stand as I cut fabric without wearing my feet out on the cement floors.
My display counter which doubles as my work and cutting service. My studio is not really large which means I have to work very efficiently. The display counter is just the right height without causing my shoulders to ache.
CN: Was there any time in your life when you struggled with making this a career? And what did you do to overcome it? AB: Supporting myself as an artist is a constant struggle. The market is always changing and it is important to listen to your customers and ask what is happening.
It is always a puzzle. I try to figure out the next step, make a decision that I can rationalize and then try it. Sometimes it fails and then I move on.
One practice that I developed many years ago is to keep moving forward. If I have had a bad craft show, I try to move some of the work in other ways so that I do not feel burdened by too much work that I thought would sell but that I still own.
CN: How does it feel to be able to support yourself doing what you love? AB: I feel very lucky.
Ann, I so appreciate you for being so open about your business and the mindset and reasoning which led to the decisions you made. It’s been wonderful. Thank you.
I hope you’ve enjoyed my interview with Ann Brauer as much as I have. Visit Ann’s website.
Here are the highlights of today’s interview.
Quotes and Takeaways
Even though it was difficult living by myself in the country and making quilts, I liked the challenge and so I decided to make it work.
One practice that I developed many years ago is to keep moving forward.
When I do a craft show, I do often notice a rise in purchases from that location.
My marketing is a whole.
I do on occasion let my mind wander to imagine how different my life would be if I had continued as a lawyer but I like my life as it is.
Your Turn
Have you participated in a craft show before? What are your tips for successfully participating in a craft show?
