In this edition of textile art business interview, we’ll be talking about publishing for textile artists and multi-day retreats. I’m pleased to welcome Pokey Bolton to the blog to help us with that. Pokey is the owner of Crafting a Life, LLC – an events and media company. She was a founder of the popular magazine Quilting Arts Magazine® and was the Editorial Director for the Quilt & Paper Division at Interweave and the founding host of Quilting Arts TV on PBS.
In this interview, Pokey and I discuss:
- Her creative journey up to where she is right now
- If it’s necessary for textile artists to get published
- Why creatives and makers need to attend retreats
- What teachers need to know in order to consider teaching at retreats
- How to navigate both print and social media to your benefit
- PLUS a video to boost your confidence in your creative journeys
Let’s get started.
CN: Hi Pokey, welcome to the Clara Nartey blog and to this edition of Textile Business interviews. I’m so happy to have you here.
PB: Thank you so much for having me, Clara. It’s a pleasure to be here.
Pokey Bolton Explains Why she Loves Fabrics
CN: Pokey, is there something about fabrics in particular that makes you enjoy working with them?
PB: I come from a line of quilters on my mother’s side, and my father’s side of my family is rooted in the American-made furniture manufacturing business––always sensitive to textiles that they used in furniture pieces to bring to the market. One of my grandmothers, too, had a knack for interior decorating. Simply put, I just grew up around fabrics. It made sense that my favorite medium was (and still is) fabric.
Pokey Bolton: The Start of Her Creative Journey
CN: Briefly tell us how your creative journey started and how your passion for magazines and crazy quilts started you on the path to publishing Quilting Arts magazine and your long career in the publishing business.
PB: Going back a bit, in 1999 while living in Boston, I was a doctoral student at Boston University and a full-time public school special needs teacher in Newton Public Schools.
While on a winter break from both teaching and schooling at night at BU, I bought a sewing machine and a Fons and Porter’s book on quilting and decided this was how I was going to spend my stay-cation: learning to quilt. I was immediately addicted, and specifically enamored with the world of crazy quilting. I found the history of this quilt form–not to mention the combination of embroidery stitches and various fabrics–fascinating.
I think Victorians were some of the first the pioneers of upcycling: taking men’s ties, old velvets, cottons, silks and such, and with needle and thread transforming them into individual works of art, rich in self-expression.
Coincidentally, I had had some magazine experience previously, having worked at a B-B investment magazine when I graduated college, so I left both my job as a teacher and took a hiatus from my doctoral program, and took what I knew to start a desktop publishing business: Quilting Arts. I didn’t have initial plans for Quilting Arts to be on newsstands; I thought it would be a subscription-based publication for about 1000 people or so.
For the first issue, I gave all of the advertising away for free, and thankfully some companies in the industry saw relevance in what I was doing—most especially thread companies (e.g. Sulky and YLI), and as things progressed, by the third issue I had a steady advertising base. Wholesale orders for local quilt shops started to come in, too, as well as distribution channels for stores like Barnes and Noble and Walmart.
Pokey Bolton Answers: Should Textile Artists Get Published?
“I think it is wiser to see it as a piece in the pie of being a professional artist.”
CN: Should quilt/textile artists be interested in getting published? What will it do for their careers?
PB: Maybe publishing is their endgame, but I think it is wiser to see it as a piece in the pie of being a professional artist, and just one way of getting their word and art out. It will help them get more exposure—for teaching opportunities, possible TV spots, future articles, and the like, but I also think a lot of artists nowadays can reach audiences directly through online channels, such as YouTube, Instagram, and Facebook with live videos. Blogs still have a lot of relevance, too.
CN: Books or Magazines, which ones should quilt/textile artists be aiming to get published in?
PB: It depends where an artist is in their career and what their goal is. If they have enough material for a book and a following, then try for a book. If they want to test the waters and have an idea (or two), then a magazine article or column may be the way to go.
CN: As a publisher what were some of the common mistakes you noticed artists made in approaching or submitting their works to publications?
PB: Worst mistakes would be poorly edited material and presenting unprofessionally. When a pitch comes through, it should be polished. My advice: vet your pitch, your idea, or your article by a friend or colleague. Make sure, too, you follow the guidelines for submissions, including requirements for image resolution. Also, if an idea for something is declined the first time, don’t stop trying! Regroup, keep making art, and pitch again.
CN: Self-publishing versus established publishing company (book deal)? Which is the better route to go as an artist?
PB: It depends on a few factors:
- How soon do you want to get the book published?
- Do you have enough time, financial resources and know-how to publish and distribute it yourself?
- Do you need (and count) on significant monetary gain for this? Some commercial publishers no longer offer royalty advances, given that the publishing market has become a little soft.
Pokey Bolton Talks More About Publishing
“I am choosy about what I may publish in the future. Publishing is not what it was a decade ago”
CN: You sold your publishing company Quilting Arts to Interweave. Stayed on for a while and then left. Now that you’re hosting retreats and events do you have any plans of going back to publishing in the future?
PB: Currently, not in a significant way. With my business Crafting a Life LLC that I launched in Napa, I’m dabbling and have published one book so far, co-authored by Carol Soderlund and Melanie Testa called Playful Fabric Printing. This is a wonderful book that I felt very passionate about getting into the hands of makers wanting to create their own fabric line and learn surface design techniques.
I am choosy about what I may publish in the future. Publishing is not what it was a decade ago: brick and mortars are closing or being very particular about what books they feature in their stores; distributors are extremely picky about what they choose to distribute; Amazon is asking publishers to take steep discounts–not to mention that so much content is free on YouTube to learn a skill or specific technique.
CN: What’s your read of the current publishing landscape?
PB: I will always favor books over digital offerings, but it is a tough environment.
If a book (or magazine) is going to make it, I think it needs to set itself apart from the pack, and maybe think about a more direct-to-consumer approach. Specifically for periodicals, I am loving some of the newer magazines on the market that are subscription-based and not looking to wholesale and advertising as big revenue streams. I am thinking in particular of UPPERCASE Magazine, Curated Quilts, and Quiltfolk. Their price-per-issue and subscription prices are a little higher, but they are worth it in my opinion.
Pokey Bolton Discusses Retreats for Makers, Crafters, & Artists
CN: Tell us some more what you’re currently passionate about.
PB: I am focusing my energies right now on retreats. I launched our annual event—Craft Napa, a four-day retreat held in downtown Napa back in 2016, and also built an art barn on my property to host very small retreats at other times of the year. In addition to Craft Napa (which last year we offered 41 classes), we’ve had several retreats here, including the first Modern Masters retreat, a four-day retreat with Denyse Schmidt last summer. Last month we hosted Jennifer Sampou for a two-day retreat and it was such an immersive and hands-on experience. I am enjoying hosting these and creating memories.
CN: Why do you think it’s important for creatives to have retreats, meet-ups, and conferences? Face-to-face interactions?
PB: As humans, we are inherently social. Quilters and makers need community– face-to-face community-that you cannot replicate in an online experience such as taking an online course or watching a video. More so than ever, given the pressures and divisiveness we face as a society, we need this shared, quality time together. That is why I wanted to launch CRAFT NAPA in the month of January—to set the tone and creative goals for the year for the quilting and crafting community.
CN: What did you like most about being in the publishing business?
PB: I loved helping a deserving and talented artist make it to print and share themselves with a wider audience. Same goes for when I was a TV host, and for what I do now: host events and retreats, and creating a space for teachers to connect directly with their students.
Pokey Bolton: How Artists Can Harness Media to their Benefit
CN: You were the founding host for the PBS national TV program Quilting Arts TV. So, you’ve got experience in both print media and television. So, my question to you is this. With all the different forms of media currently available to artists – print, television, social media – how can artists harness them to their benefit? Now that you’ve gone back to running your own business again how do you leverage the different types of media?
PB: With the ever-shifting environment of publishing, I strongly encourage artists—seeking to develop a following—to take advantage of social media. Both Instagram and FB offer platforms to develop audiences and develop them fairly quickly. (I am personally more of an Instagram fan than FB.) When I hear artists say they are bummed that a publisher (or events coordinator) asks about their social media exposure, such as how many followers and on what platforms and they balk, I have to wonder why. It’s very simple: it’s a business, and that editor, publisher, or events coordinator is investing in you. It does not hurt to put some energy in growing your audience. A publisher or events coordinator will see this as a plus towards their investment to promoting your work and perhaps make them more confident that it will be a financial success for both parties.
Pokey’s Thought’s on Retreats with Regards to Fiber Art Teachers
CN: From publishing to hosting retreats, that seems like two opposite things. It seems like in one case you’re behind the scenes getting things going and in the other, you’re out front running the show. Which skills did you bring from your previous jobs and which new ones did you have to acquire to get all of this started?
PB: I actually find them to be the same skill set. Both are pretty much behind the scenes in terms of getting the content ready and present it in its best light to an audience. For example, for our annual event, CRAFT NAPA, we have to revamp the website for every edition, edit the material, make sure photography is stellar, get contracts out, not to mention write and schedule regular newsletters to market the event, all the while staying on deadline.
CN: Why would a fiber art teacher want to teach at a retreat compared to other teaching gigs? What’s in it for them?
PB: I cannot speak for monetary compensation (every entity is different) but I think a retreat by definition is more intimate, offers more 1:1 attention and is context based. There is the teacher to draw the student, yes, but there is also the context—the environment where that retreat is taking place. That is why I chose Napa to launch my retreat and events business. I wanted it to be set in a beautiful, verdant, inspiring location so people could enjoy the classes but also enjoy the locale—Napa.
CN: As a relatively new retreat, how do you attract skilled teachers to present at your event?
PB: We are readying for our fourth edition already, which I can’t believe! I think the fact that I have been in this industry for 18 years and have established relationships and have a wide variety of experience in publishing and media, have been pretty key.
CN: As a fiber art teacher is there ever a good reason to consider teaching at other retreats if you already have a retreat or two where you’ve been teaching for years and have grown your own following? In other words, is there an advantage to teaching at one venue over the other? And what are they?
PB: I think it just depends on goals: if you can profit from it monetarily (which you should); the venue can help grow your audience; and/or you know it is going to be a great, memory-making experience, it’s worth trying new venues. I have actually taught internationally too, so I understand this from my own teaching perspective. If I hadn’t been asked to teach in some parts of Australia (for example) I would never have visited there.
3 Ways to Determine if an Event (Retreat) is Right for a Fiber Art Teacher
CN: What are 3 ways to determine if an event (retreat) is the right thing for your audience?
PB: I think you are asking from the perspective of a teacher vs. an event producer so I will answer as best I can from a teacher’s perspective, and I have my top three:
- Will it get my goods in front of a new or an expanded audience?
- Will the event let me have a pop-up shop or offer free space at a market so I can sell my patterns, kits, and things to an expanded audience?
- Does the venue/retreat have a solid, multi-faceted marketing strategy to help sell my classes at their event?
Learn More about Craft Napa Retreats
CN: Awesome! So before we go, can you tell us when is the next Craft Napa? What can participants expect and where can they register?
PB: Craft Napa 2019 takes place January 9-13, 2019, and registration opens June 1, 2018. We have 38 workshops taught by 16 teachers in quilting, collage, screen printing, surface design, and mixed media. It’s a fun retreat to kick off the new year, and a great way, too, to see Napa Valley. More information on all of the workshop offerings and particulars can be found at craftnapa.com.
Thank you, Clara, for having me as a guest!
Confidence Boost for Creatives
Click to watch Pokey Bolton speak how to get more work done by tuning out
Interview Highlights
- Publishing is not what it was a decade ago: brick and mortars are closing or being very particular about what books they feature in their stores
- I strongly encourage artists—seeking to develop a following—to take advantage of social media.
- If you can profit from it monetarily (which you should); the venue can help grow your audience
- More so than ever, given the pressures and divisiveness we face as a society, we need this shared, quality time together.
I hope you enjoyed this interview with Pokey Bolton. In the comments below, tell me what jumped out at you or spoke to you in this interview. I can’t wait to hear from you.
Warmest regards,
Hi there. I’ve got Judy Coates Perez here with me today for the business interview. Judy has taught for guilds, shops, conventions, craft schools, retreats, small private groups and internationally at a variety of venues.
I’m glad to welcome Judy to the blog today.
Judy and I discuss:
- Her creative journey into the fiber arts and the “crazy ” quilts she started with
- Whether teaching is a viable way to earn a stable income?
- The Challenges of Teaching Textile Art
- A Cheat Sheet on the Best Venues to teach, including the best paying teaching gigs
- Judy’s favorite tools and resources and oh so much more
- PLUS a confidence boost for all of us creatives (watch her on VIDEO)
Let’s get started.
Short on time, but want to check out the interview? Grab the free pdf Judy Coates Perez’s Interview and enjoy at your convenience.
CN: Hi Judy, welcome to this edition of Textile Art Business Interviews.
JP: Hi Clara thanks for reaching out to me.
CN: Judy, as a way of introduction, can you tell us about your background and how you became an artist who uses textiles to create her art?
Judy Coates Perez: Creative Journey into Textile Art
JP: My educational background is in graphic design, and I worked for a number of years in that field before having kids, but I always loved sewing, art and making things.
I began making quilts without having taken any formal classes, other than high school sewing, so I did some pretty crazy things on my first couple quilts, like back one with corduroy, because that’s what I had on hand and cover another with applique scorpions, snakes, and cactus. I learned more about how to put a quilt together after moving to Austin, TX and joining the quilt guild.
CN: That’s an interesting start to your textile art career, for sure. What is it about textiles that you like to work with them?
JP: I enjoy sewing and I like the added design element a line of quilting can make, as well as the texture and patterning of the quilted surface when combined with my painting and mixed-media work. I really do like working in many art forms, but there came a point when I was juggling quilting, pottery and raising kids that I realized I needed to narrow my focus.
Is Teaching a Viable Way to Earn a Stable Income?
CN: Great!!! Let’s talk about teaching. Many textile artists teach as a way to generate income. You’ve taught for a long time. What’s your opinion on why teaching is the number one way most textile artists make money? Is it a viable way to make a stable income?
JP: I’ve taught textile arts for 11 years, before that I homeschooled my kids. Honestly, I think it’s very hard to support oneself teaching without another revenue stream. Making a living selling artwork is even harder. Not impossible, but if you think about it, people will pay more for a painting on canvas that takes 1/10th the amount of time to paint as an art quilt does to make, so teaching is a more viable option.
I love the actual teaching time, being with a group of students teaching them new skills, helping them realize painting on fabric’s not magic, it just takes a little time and practice to learn how to control the media. It’s so gratifying when I can see the light go on, and the confidence building, while they learn how to bring the ideas in their heads into reality on fabric. That’s the best!
But teaching is my only source of revenue, and that’s challenging, I live on a very meager income, but one of the perks that has made it worthwhile, is that I’ve had some amazing opportunities to travel and see places I could never afford to go on my own and meet many wonderful people.
The Challenges of Teaching Textile Art
CN: Teaching is very hard work that doesn’t get paid well enough whether you’re a kindergarten teacher or a textile art teacher. Can you talk about some of the things which make teaching textile art so hard?
Staying Healthy is Important
JP: It’s part of the gig economy, there’s no health insurance or benefits, and I would not be able to afford health insurance without the affordable care act, if that goes away I may very well have to stop teaching. Some months of the year can also be very slow (especially during the holidays) when there aren’t conventions and guilds don’t book workshops.
The Textile Art Teacher Pay-Scale
There are many venues, like retreats and conventions, where you only get paid per student, and if your class is less than half-filled it will be canceled. Some quilt conventions and most retreats, do not cover travel expenses or room and board, so if you have low numbers you can actually lose money teaching.
Unlike lawyers, we can’t charge for all the time spent writing emails, answering questions about classes, supplies, and fees, or negotiating dates and contracts, and ordering and shipping supplies.
The Burden of Class Supplies
I try to shift the burden of many workshop supplies to my side and charge a supply fee that covers those expenses. I do this because I’ve learned over the years, if I can make it less complicated for the student and can save them money by doing a shared supply of paint instead of having them buy a full set of colors in small jars, I can fill classes better, and avoid having students accidentally buy the wrong product because they are unfamiliar with it.
I teach a lot of different types of workshops, so I have to stay on top of a pretty large inventory of products to supply for each class. Most of my supplies come from art stores that I can’t get wholesale pricing on, so I do a lot of research finding the best prices and buy large quantities to get the prices down. My credit card bill gets stretched pretty far between gigs.
The Traveling Issue
Travel these days is no piece of cake either. The airline industry is making the whole experience about as miserable as they can. People rarely think about the time involved in transportation, from researching the travel to weighing suitcases repeatedly to make sure they are under 50 pounds each, to spending two days in transit to and from the location, not to mention time zone differences and not being able to fall asleep the night you’ve arrived and then waking up at the equivalent of 3 am your time to start the first day of teaching. The actual teaching is the easiest and smallest part of the job.
Finding Time for Personal Creative Work
One of the biggest things I struggle with is not having enough down time to do my own work. It’s important to have time in the studio to develop ideas and techniques and create new work to enter into exhibits. There is always something that needs to be done business-wise that puts off time in the studio.
CN: Wow Judy, that’s really insightful. Few people talk about this side of teaching. It’s nice of you to give a balanced picture, so thank you.
Judy, you’ve taught at many venues and you know the differences between the venues as well as any teacher possibly could. What are the easiest venues to get into if you’re just starting out and you’re still learning how to navigate this space?
The Best Venues to Start Teaching Textile Art
JP: The best place to start is your local guild, and do workshops with small groups of friends. You want to work out as many timing and logistical sequencing issues and pacing for the class as possible, as well as working out supply and classroom needs.
Then reach out to other nearby guilds. Guilds can often be the surest financial return for your time, since they reimburse your travel and pay a flat workshop fee. I have taught for some wonderfully organized guilds that really make the job pleasurable and I’ve taught for other guilds that make you seriously question why you are doing this.
Teaching Venues which Give You the Biggest Bang for Your Hard Work
CN: If you’re at the point in your teaching career where you’ve got more options, and can be a little selective, typically which venues give you more bang for your hard work as a teacher?
JP: A commercial retreat venue or big quilt conventions can be good because you have multiple days of classes all together with a large audience to pull from to fill classes, but the downside can be that travel expenses and room and board are rarely covered and you are paid per student. Not every venue pays the same rate either, some of the biggest shows pay the worst.
The Best Places to Teach for Fun
CN: If you have the luxury of teaching with no need for money but only for fun, which are the best venues for you to teach?
JP: Definitely the week-long workshop opportunities at retreats or craft schools. The amount of learning and development of a student’s skillset is so much bigger. The pace of the class is a bit slower and more conducive to better work being made as well.
One day classes can move at such a fast pace it’s hard to get everything in over such a short period of time without feeling rushed. The craft schools have been my favorite, but the absolute worst for paying gigs.
CN: Judy, did you try other ways of earning an income from textile arts before settling on teaching? If yes, what are they and why did you choose to teach over the other sources of income?
JP: I started teaching when I was married and had previously stepped away from working as a graphic designer to homeschool my kids.
I had been making art quilts for about 15 years, and had won quite a few awards and had work published in books and magazines.
I had a blog with a fairly good following and got asked questions on techniques, process, and supplies which really helped me understand the kind of things people wanted to learn from me when I started getting inquiries about teaching in 2005.
I began teaching initially, as a way to pay for fabric, supplies and show entries, but then the recession happened, my marriage broke up, we lost our home and life savings, there was no money for alimony, and I didn’t have the up-to-date computer skills required to be employable as a graphic designer, so I just had to keep doing what I was doing, and continuously find ways to supplement my teaching income to make ends meet.
In many of my mixed-media classes, I have developed products that I sell like; thermo-fax screens and a sheer tissue weight paper that I print images on and use for collage on fabric.
I have also written, designed and self-published four instructional books that supplement my workshops. Without selling products I wouldn’t be able to keep my head above water.
Honestly, I think there are a lot easier ways to make money, and I often weigh the pros and cons of teaching, especially as I age, but right now I don’t have a financial safety net to consider transitioning into something else.
I think I would love teaching a lot more if I could do it a little less.
CN: Judy, I love a candid interview and you have been nothing less than that in this interview. 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?” They can be tools you use in your studio, books, anything you really love that has helped you/ helps you a lot. Readers love to use the same things their favorite artists use.
(These contain affiliate links which means if you purchase something through such a link, I’ll get paid a small fee at no charge to you. Thanks for supporting my content creation.)
- I love cheap sketchbooks like Fabriano’s EcoQua staple bound notebook
Hardcover sketchbooks intimidate me, they feel too serious to me – like every page has to have an interesting drawing on it or something. I prefer less formal sketchbooks like Fabriano makes. I can have a bunch of them in different sizes, they have nice paper, are flexible and I can easily stick one in my bag it’s not heavy and won’t take up a lot of space.
- Knowing color theory is crucial, Nita Leland writes great books on color with lots of examples in different media and helpful exercises to learn about different color palettes. I love her book Confident Color.
- I love a smoothly woven, high-thread-count, Prepared For Dyeing (PFD) fabric for painting
- Mistyfuse is my favorite fusible web. I use it mostly for fusing my quilt tops to the batting as an alternative basting method. I love that it has a strong fuse and is virtually undetectable in the hand of a quilt.
- I transfer all my paints into squeeze bottles with twist tops from SKS Bottle. This helps prevent wasting paint by making it easier to put a smaller amount of paint on your palette. I use 8-ounce bottle for a class supply size and one-ounce bottles for travel and for my own supply to use when teaching.
CN: What are 6 tips you can give to someone who is just starting out on how to find the best venues to teach?
- In California, we have the Northern California Quilt Council ncqc.net
that has an online listing resource for teachers and they also have 2 meetings a year where you can give a 3-minute presentation on the classes you teach to guild organizers.
- I don’t know if other states host something like this, but it’s a great place to get noticed by guilds over a large area.
- Have great business cards that show your work on one side with your information on the other. Make a point of sharing your card with people when you get asked about what you do.
- Many quilt and fiber art magazines have listings in the back of venues for retreats, conventions and craft schools that you can contact about teaching.
- Ask friends where they have taken classes that they’ve liked and ask friends who teach where they’ve had good experiences teaching.
- If you want venues to consider booking you it’s important to have name recognition. Name recognition can come from entering exhibits, winning awards, writing articles for magazines, writing a book, using social media like Instagram or having a professional Facebook page, and keeping a blog where you showcase and write about your work.
CN: Thanks Judy for coming on the blog and sharing your wisdom with us. It’s been wonderful
JP: You’re so welcome.
And Judy has a word of encouragement for all of us creatives. Watch the video below.
Confidence Boost for Creatives
To learn more about Judy Coates Perez and the courses she teaches visit her at her website.
Interview Highlights & Quotes
- I did some pretty crazy things on my first couple quilts, like back one with corduroy
- I enjoy sewing and I like the added design element a line of quilting can make
- One of the perks that has made ]teaching] worthwhile, is that I’ve had some amazing opportunities to travel and see places I could never afford to go on my own and meet many wonderful people.
- I think I would love teaching a lot more if I could do it a little less.
- I hope you enjoyed this totally honest interview with Judy. I certainly did.
Warmest Regards
In this episode of Textile Art Business Interviews, we’ll be discussing online teaching with Lyric Kinard. Lyric is an artist, an author, and an educator. She recorded a special encouragement video for all of you my readers, PLUS she has a special BONUS just for you.
I’m glad to welcome Lyric to the blog, today.
Lyric and I discuss:
- Her creative journey into the fiber arts
- Her early influences and challenges
- Why teaching online is a suitable method for textile art education
- Whether textile art educators can hold their own in the online education market
- Tons of tips from Lyric on how to get into online teaching
Let’s get started.
Short on time, but want to check out the interview? Grab the free pdf Lyric Kinard’s Interview and enjoy at your convenience.
CN: Hi Lyric, welcome to the blog and this edition of Textile Art Business Interview.
LK: It’s my pleasure. Thank you for inviting me.
Lyric Kinard’s Journey into Textile Arts
CN: Tell us about your journey into textile arts. Who and what were your early influences?
LK: I come from a family of creative people. My father taught high school art, my mother was a talented potter and weaver. My siblings are all musical and most of them know how to draw.
I was so busy and driven with my music (I play French Horn) and my many other interests that I didn’t even think about the visual arts. I have always had a very broad range of interests, studying creative writing, architecture, history, languages, sciences, and always – music.
Then I made a choice. Instead of pursuing a career I chose to stay home with my children. I don’t regret that choice for a single moment – it has led me down a path I never could have imagined. But it wasn’t an easy path. I gave up the music and pretty much everything else that was part of my identity to stay home with these lovely, needy, all-consuming little beings. For the first few years, I was lost. It felt like there was no “me” left. My well had run dry.
Art filled it back up. A dear friend took me to a quilt bee with her and those fabulous ladies taught me to make beautiful quilts. It was a much-needed creative outlet. I could take a stitch or two then run off to care for the little ones. No paint drying in the brush. It was amazing how much I could accomplish two minutes at a time.
Early Influences and Struggles
But I was still struggling with a lack of identity, (and a bit of post-partum depression.) A little while later I attended my first large quilt show, stood in front of an art quilt, and had an epiphany. Quilts could be ART! I immediately took out every class I could to teach me the techniques I needed to know.
My first art quilt was a group challenge – create an art quilt in the shape of an apron. My first reaction? UG! But I chose to take on the issues I was dealing with and ended up working through my ambivalent feelings toward motherhood.
Art took me through an exploration of my choices, of society’s view of motherhood, of my value in the role of homemaker. Art brought to a greater appreciation of the sacrifice that mothers have always made. Art helped me find out who I was, and helped create who I am now.
And because, no matter how hard I fought it, teaching is in my blood – sharing my love of what I do naturally evolved into a career as an itinerant traveling textile teacher.
A Universal Love for Fabric
CN: Why do you love to work with fabrics?
LK: It’s a tactile thing.
People all have an immediate relationship with fabric from the time they are wrapped up in their first baby blanket.
Just watch – anyone who looks at a quilt on the wall reflexively reaches out to touch it. You don’t get that connection with an oil painting.
Lyric’s Path to Online Teaching
CN: Lyric, let’s talk about teaching online. You were teaching live workshops before you started teaching online, right? When did you start teaching textile art and when did you branch into online teaching?
LK: I’ve taught live workshops both locally and around the world. Because my first priority has always been my five children I’ve kept a limited travel schedule. I had an opportunity to teach online long before Craftsy came onto the market with the first online platform for quilt education – Quilt University.org.
It was an amazing opportunity to reach a much broader audience and for me to continue teaching while being home with my kids. Craftsy approached me when they first opened but I still felt loyalty to Carol, the owner of Quilt University and was also a bit wary of Craftsy’s payment structure for their instructors. After the owner of Quilt University died and the platform ended I took time off.
CN: Was there a particular reason you decided to add online teaching to your menu of services?
LK: Recently I’ve come back into the online teaching world as there are new platforms that allow an independent instructor like me to control their offerings from start to finish without having to deal with the background technical details like student registration, computer programing, etc. It was time for me to once again offer what I love to a broader audience but on my own terms.
Why Teaching Online is A Suitable Method for Textile Art Education
CN: What do you say to someone who says you can’t effectively teach textile art online?
LK: With current technology, online courses can offer much of what a live class brings. I offer video presentations with tight close-ups of detailed handwork in process – something that is difficult to do in a live class. The written content can be light or as in-depth as any published book.
The platform also allows for conversation between the students and the instructor, places for students to post photos of their work and receive feedback. One advantage that is of interest to fiber artists is that you work from home with your full range of equipment and materials at hand, and at your own pace.
Of course, it does not provide the immediacy of live group interaction. Well – actually the platform I use does offer group webinar options but I have only used them sparingly.
Can Fiber Art Teachers Hold their Own in a Fast Growing Online Education Market?
CN: The online course industry is growing by leaps and bounds, partly because traditional educational systems are not meeting the DIY needs of today’s students (who come in all ages). Do you think this growth in the online course industry will spill over to fiber art in a big way? Craftsy has done so well. But do you think individual fiber art teachers can hold their own in this market? What are your thoughts?
LK: I think that the online component of textile education has already revolutionized the industry. There really are a small percentage of fiber enthusiasts who can travel to or afford live classes.
Internet technology, which is especially intuitive to the younger crowd, allows a broad and democratic access to education. So many larger companies and publishers are following Craftsy’s lead but I’m pleased to see independent instructors and designers holding their own.
If you are able to find your niche market you can make your offers directly to the customers who really love what you have to offer. With the rise of easily accessible platforms like Ruzuku, even technologically challenged teachers can get up and running. Once they are able to get their name out into the world and find their tribe (that’s the first challenge!) then they most certainly are competitive.
CN: Lyric, there are two segments I include in every interview because readers really enjoy these segments.
Lyric’s Five Faves
The first is this: “What are your five favorite tools, supplies and resources”? They can be tools you use in your studio, books, anything you really love that has helped you/ helps you a lot. Readers love to use the same things their favorite artists use. If you can provide links to them, that’ll be even better.
LK: I love, love, love my tech! From my camera that captures the imagery that inspires my artwork, the computer that lets me digitally manipulate those images, create patterns for consumers, all the myriad products that allow me to create digital content and connect with my peeps! But I also love my old school, all mechanical sewing machines, simple needles, thread, fabric, beads and floss that afford countless blissful hours of MAKING things with my hands.
CN: What are 6 tips you can give to someone who is just starting out and hoping to follow the online teaching path?
Lyric Kinard’s Business Tips for Online Teaching
1-Practice. Find a diverse group of neighbors and friends and teach them first. Ask for feedback both on your content and on your teaching style. Find an art center or local shop to teach at. Be organized. Give everything you’ve got. Learn to communicate clearly.
2-Practice. Learn to be professional. Use contracts. Ask for fees that reflect your expertise. Do be generous but never sell yourself short. Pay close attention to returns vs. investment. If you agree to work for an outside publisher are you being paid a percentage of what they bring in – and do they discount those prices so often that you get pennies even though you might be asked to be available in perpetuity to answer student questions? Really think hard about what your time, skills, experience, and expertise are worth. You should pay yourself more than a cleaning service. Seriously.
3- Practice. Write. Online teaching, even if you go entirely with video requires written material at a minimum for marketing. At best, your clear and precise instructions will enrich your visual content. There are all kinds of learners and you want to reach them in as many ways as possible.
4- Practice. Get familiar with tech. Unless you are working with a pro (which I highly recommend) you will really need to know how to work lighting, sound, and video equipment. Editing software too. You need to present your work as professionally as you possibly can.
5- Practice. If you are working on camera, say your spiel over and over and over until it becomes natural. Practice being organized with how you move from one step to the next. Practice including everything you want to show within a reasonable amount of time. (Online students have short attention spans – break videos up into bite-sized chunks.) You don’t need to be perfect – real is good. But a wooden and nervous presentation will get in the way of what your viewers want to learn.
6- Practice. Remember that you are doing this because you LOVE to pass on what you know to your students. You LOVE teaching. You LOVE being able to reach people far and near. It’s awesome to be able to make a living at what you love.
Before we go, here’s the special Confidence Boost video Lyric recorded for you. Enjoy and Share!!!
Finally, a SPECIAL BONUS
LK: I’d love to offer your readers a discount to my current online offerings. Use the code “Artpreneur” for a 15% discount and take a first-hand look at how I teach and use the Ruzuku platform.
CN: Thanks Lyric. I’m sure this interview will be enjoyed by all who read it. You’ve packed it with so much goodness. 🙂
LK: You are very welcome! I invite your readers to come explore my artwork and course offerings at www.LyricKinard.com
Interview Quotes and Takeaways
- Internet technology allows a broad and democratic access to textile education
- Do be generous but never sell yourself short. You should pay yourself more than a cleaning service. Seriously.
- There are all kinds of learners and you want to reach them in as many ways as possible.
- On-line courses can offer tight close-ups of detailed handwork in process – something that is difficult to do in a live class. And the written content can be light or as in-depth as any published book.
Warmest Regards,
In this episode of Textile Art Business Interviews, we’ll be discussing textile art coaching. I’ve got Sue Bleiweiss here with me to help us with that. Sue is an artist, a teacher, and an author of multiple books.
I’m glad to welcome Sue to the blog, today.
Sue and I discuss:
- Her creative journey to fiber art
- Art coaching – what it is and why you need it
- The most common fear coaching students have
- How to figure out if you’re ready to become a coach
- Tons of tips and Sue’s favorite tools and resources
Let’s get started.
Short on time, but still want to check out the interview? Grab the free pdf Sue Bleiweiss’ Interview and enjoy at your convenience.
CN: Hi Sue, welcome to the Clara Nartey Blog for this episode of Textile Arts Business Interview
SB: Hi Clara, I’m happy to be here, thanks for asking me to be a guest on your blog.
Sue Bleiweiss’ Journey in the Creative Arts
CN: Can you tell us a little bit about yourself and your personal journey into textile art? What were your early influences? How did you make the decision?
SB: I began my career in art about 15 years ago. I had just decided to leave my corporate job for a slower less hectic lifestyle and signed up for a weaving class. I was hooked from the first moment I held the shuttle in my hand. I wove for a few years doing a lot of commission work until a shoulder injury forced me to hang up my shuttle.
At that point, I made an attempt at making traditional quilts, which didn’t go well because I hate following directions.
Once I realized that I just didn’t have the patience or skill for traditional quilt making I started exploring mixed surface design and mixed media techniques and that led to becoming obsessed for quite a few years making books and journals.
Something I still love to do. I started dabbling in art quilts as a way to explore creating art to hang on the walls and that led me to where I am today.
Sue Bleiweiss’s Love for Fabrics
CN: What is it about fabrics that you like working with them? Many textile artists talk about the tactile nature of fabrics. Is it the same reason for you or do you have others?
SB: Well there are a couple of reasons I like working with textiles – the tactile nature is definitely one of them. The other big reason for me is that I really enjoy dyeing my own fabrics to work with. It’s a very satisfying full circle process for me to start with plain white cloth, dye it and turn it into a vibrantly colored art quilt.
CN: Being a full-time artist means engaging in some income-generating activities to support your art career. For you, one of the things you do to achieve this is to coach artists. What is coaching about?
SB: My coaching program is about helping artists identify their goals and map out a strategy to achieve them.
What is Textile Art Coaching And Who Needs it?
CN: Sue, you teach workshops as well as coach artists. Why is there a need for textile art coaching when you’re already teaching workshops? And who is coaching suitable for?
SB: My workshops and coaching programs are two very different things. In my workshops, I teach techniques specific to the way I work and create art quilts.
My coaching program is more like an independent study process and I offer my help and expertise in a wide variety of subjects such as artistic development (design, critique, personal style development), business and marketing, and writing for print publications.
I have and am currently coaching a lot of artists each at a different stage of their artistic journey from beginner to advanced. Some are working towards developing a cohesive body of work and are primarily interested in artwork critique and feedback and others are looking for guidance with business development topics such as marketing and publishing.
Textile art coaching is for any artist at any stage of the journey that is seeking clarity, guidance or support with their studio practice or their artistic development.
CN: In your experience, what is the most common fear or need or concern your coaching students have when they start with you?
SB: Artistic development and the desire to create a cohesive body of work is by far the most popular request for help from my clients that I get.
What Do You Need to Get into Textile Art Coaching?
CN: Who can become an art coach? What do you need to know or what characteristics do you need to have to coach other artists? Or in other words, when do you know you’re ready to become one?
SB: I think being an effective coach requires a few things: certainly you have to have a high level of expertise and confidence in the subjects you’re offering coaching in but I think you need more than that. An effective coach knows how to listen, how to provide critique and feedback that is encouraging and motivating and knows how and when to ask the right questions that can allow the artist to draw their own conclusions and build self-confidence.
Is Textile Art Coaching A Viable Business Option?
CN: There are many paths to building a successful art career. My mission is to help artists carve out their own paths in starting or building their businesses. So, this question is a purely business one. In your mind, is coaching a viable art business activity? Is it financially worth the effort?
SB: Well for me personally, the financial side of the coaching has very little to do with why I offer it. My primary motivation for coaching is because I really enjoy it. There is an incredible amount of personal satisfaction for me to be able to share my experiences and knowledge with a fellow artist to help make their artistic journey a little easier.
Coaching is just one aspect of my studio practice – I teach, I write and I make art and all of those things are important to me so I have to make sure that I manage my commitments so I have time for all of them.
Is coaching a viable business activity? Yes, but for me, it’s a small part of my overall studio practice and my primary motivation for offering it is the personal satisfaction I get from doing it. I’ve set the pricing for my coaching to reflect that in order to make it accessible to as many artists as I can.
Sue Bleiweiss’ 6 Tips on Textile Art Coaching
CN: What six (6) tips can you give about coaching textile artists, that you’d only share with a close friend?
SB: I’d give this advice to anyone considering coaching
- Be willing to share it all – by that I mean you have to be willing to share all your knowledge, you can’t hold anything back.
- Communication skills are absolutely critical: You must be comfortable being able to provide honest constructive guidance and feedback to your client. Each client’s needs will be different and you need to be able to adjust your style of communication to suit those needs so that the client will be receptive to what you are saying to them.
- Honesty is paramount for a successful coaching relationship. You have to be comfortable giving candid straightforward feedback and you need to be able to do with diplomacy and tact in a helpful non-confrontational way in order for the client to be receptive to it.
- Be prepared! Keep notes and review them before each meeting with your client. I also like to do a follow-up email after a meeting to review and recap what was discussed.
- Take it seriously – by that, I mean that you can’t take the role of being a coach lightly. You have to be invested in the success of your client and it’s your job to help them find and gain the confidence they need to develop and grow.
- Listen, listen, listen!
Sue Bleiweiss’ 5 Favorites
CN: What are your 5 favorite tools or resources you can’t do without as a textile artist?
- Mistyfuse: the only fusible that I use in my studio.
- KAI Scissors: I tossed out all my other scissors after I bought this brand. My favorites are the KAI 7205 8” professional shears and I also have a pair of the 7170 and 7100 ones.
- Superior Threads King Tut 40wt cotton: and Superior Threads MonoPoly: I used to change out my bobbin thread to match the top thread but not anymore. Now I always use Superior monopoly in my bobbins.
- 400 Bleached Desized Mercerized Cotton Print Cloth from Testfabrics
- Procion Dye & Soda Ash: From Dharma Trading: and ProChemical and Dye
And here are some more resources Sue generously agreed to share with all my readers. Thanks, Sue.
- The studio practice questionnaire that Sue has all her clients fill out prior to their first meeting.
- Get Sue Bleiweiss’s Resources: A document showing the tools and supplies Sue uses.
For even more from Sue, check out her books and learn more about her art coaching.
Warmest regards,
Beyond Teaching at Local Guilds To Becoming a Traveling Teacher
In this episode of Textile Art Business Interviews, I’ve got Luke Haynes here with me to talk about teaching Luke is an award-winning artist and an international teacher.
I’m glad to welcome Luke to the blog, today.
Luke and I discuss:
- The story behind his creative journey into art quilts.
- Why quilt artists teach
- The value of quilts in the art world
- Why and how to educate people about the value of your works
- Tips for going beyond teaching at your local guilds
Let’s get started.
Short on time, but still, want to check out the interview? Grab the free pdf Luke Haynes Interview and enjoy at your convenience.
Luke Haynes’ Creative Journey
CN: Hi Luke, it’s my pleasure to have you here on the Clara Nartey blog for this episode of Textile Art Business Interview.
LH: Thank you for having me.
CN: Luke what’s your quilting story? I know it started late in art school. Can you tell the story for the benefit of all to hear?
LH: The story started before art school, with knitting in middle school. That was my gateway craft.
Then when I was in Arts school I had some fabric and tried to make a portrait out of it. I learned a lot and really had a LONG way to grow so I kept trying and learning. And here I am.
CN: There must be something about fabric that draws you to it quite above the other media you’ve been exposed to. What is it about fabric that makes you choose to work in this medium?
LH: I like fabric already. Paint or pigments by themselves don’t tell a story. Fabric especially used textiles, has an existing story to tell. Plus, I really enjoy the process of sewing quilts.
CN: That’s a question I love to ask because everyone seems to have their own reason for working with fabrics.
For someone who didn’t come from a quilting background, how come you have created so many quilts with a traditional quilt pattern – the log cabin.
What’s the story behind your log cabin portrait quilts?
LH: I started in arts and design, but
quilting comes from a history of tradition and I want to really honor the past history of the medium.
I think that it’s important to show, through my work, the history and importance of methods and media.
Luke Haynes Honors The Tradition of Quilts Through Art
CN: Some quilt artists see themselves as painters –fabric painters, thread painters and so on. However, you say, “I’m a sculptor, not a painter, quilts are sculptural objects”. What do you mean by that?
LH: I mean that I am not only creating an image, but also creating an object.
The quilts I make can be used on a bed, they honor the history of “utility” implicit in the medium. I think that is important to specify. I don’t want to just make a fabric painting.
If I wanted to make a painting I think using paint would be the best method.
The Place of Quilts in The World of Art
CN: While talking about your Fossil commission you said, “I’m a member of the creative class whose job is to push our industries to greater aesthetics.” My question to you is how do we push the textile art industry to greater aesthetics?
LH: Short answer is: just make more. I think through conscious practice we can all grow in skills and prove the value of what we make to the world of art, whose rubric for acceptance is aesthetic.
CN: Well said, Luke. Well said!!! “The world of art’s rubric for acceptance is aesthetics”. Not tradition, not techniques and definitely not how many months it took to finish a piece of art quilt.
When you were asked about what the greatest challenge of being a textile artist was, you responded by saying this. “Explaining the value to the collector/investor. Quilts have inborn nostalgic and functional value, but the monetary value is often overlooked”.
How to Attribute Value to Art Quilts
CN: So how do we go about educating textile art collectors? What exactly do you say to a collector (or what do you do) to make them see value in your work?
LH: I try to do that through my history of shows and sales. I am not sure of a better active way to do this.
I have shows across the world and pieces in museums and I hope that helps value my work alongside the medium. The more I sell and show and tell and others do the same the more we will all move into accepted media.
CN: So, it’s your opinion that it’s collective action on all our parts as well as the individual artist’s own actions. Awesome!!!
Working as a Traveling Teacher
You’re on the teaching circuit a lot. It was quite hard to get a hold of you for this interview because of that. Why do you teach?
LH: I teach because that feels to me like a way to give back to the community of quilting. And of course, I learn from my students.
I tend not to teach anything I don’t want to practice, that feels the most honest way to me. It also affords me some travel, which is fun.
CN: By far, teaching is the most common income-earning activity textile artists engage in. Although there are other things like selling your art quilts, doing commissions, art prints, fabric design etc., teaching seems to be the favorite of them all. As an international teacher yourself, why do you think this is so?
LH: Because there is a greater market for teachers than artists in this medium. It’s supply and demand and all of that.
Quilters don’t buy quilts; they buy ways for themselves to make more quilts, either education or tools.
That goes back to the issues with collectors and valuation of the finished object.
CN: What’s the most important lesson you’ve learned as a textile art teacher?
LH: For me, it’s always my goal to give permission for my students to explore and experiment.
And to give them methods and ways of thinking for them to use after we work together.
The lesson in that is that it’s not my job to control but to support.
Before I taught I always assumed it would be my task to mold people into what I wanted them to be.
Helping Your Students Accomplish Their Goals
CN: In your experience, what’s the one thing students are worried about the most when they first come to class? What is it that will make them feel accomplished at the end of a class?
LH: Most students are worried that they don’t have the skills to accomplish the task, or that they are “too traditional” or “too independent to learn” etc. Often they lack confidence.
The thing I strive to include in my classes is a finished something they can take home and reference.
I find that its FAR more likely for someone to do something again than finish what they started.
Also, people feel accomplished when they see a room of people go through the same trials as them and notice they are in a community rather than alone in a learning curve.
CN: That’s a great point you make there. I like to say “starting is hard but finishing is a great motivator for starting again”. Luke, there are two segments I include in every interview because readers really enjoy these segments. One is what are your five favorite tools and resources? And the other is what are your business tips.
LH: So many! Haha
Luke Haynes – Five Favorites
1) Ok well, of course, the rotary cutter. That changed the world.
2) I also use a long ruler and a big cutting table. Give yourself enough room to work, so you can see what you are making.
3) I have a BIG ironing table for the same reasons. 36 X 60”
4) Camera/cell phone, depending on your space it allows you to be able to visually take a step back and see your work. I find that it helps me be objective on color decisions.
5) Glue stick!! “Acid-free”!!! So it doesn’t deteriorate your work] it helps me hold things together till I can quilt it, no need to do it by hand or a basting stitch. Saves me hours on each project and it washes right out.
Luke Haynes Tips For Becoming A Traveling Teacher
- Watch what other teachers are doing.
- Ask other guilds what they are looking for.
- Work on your mastery that they will want you for. [method or material etc].
- Consistency, the more that people see your name, the more they will trust your product and persona.
- Apply for big shows like Quiltcon or AQS – American Quilter’s Society and let the community see you at work.
- Promote yourself on social media and let people find you.
CN: Thanks Luke for enriching to our knowledge about teaching in the art quilt industry.
To learn more about Luke Haynes, or to see if he’s coming to a destination close to you to teach, visit his website at LukeHaynes.com
Interview Highlights & Quotes
- The quilts I make can be used on a bed, they honor the history of “utility” implicit in the medium. If I wanted to make a painting I think using paint would be the best method.
- The world of art’s rubric for acceptance is aesthetics.
- Quilters don’t buy quilts; they buy ways for themselves to make more quilts, either education or tools.
- Apply to teach at big shows (Deborah Boschert talks about spending time on your applications)
Your Turn
Is becoming a traveling teacher something you’re interested in?
Warmest Regards,
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.
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
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
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?
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
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
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.
- Misty Fuse fusible webbing — Reliable, easy to use and beautifully lightweight.
- 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?
Warmest Regards,
You may be interested in these fine Textile Art Business interviews.
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.
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.
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
Short on time, but still want to check out the interview? Grab the free PDF Terry Waldron’s Interview – How to Become a Great Art Quilt Teacher And enjoy at your convenience.
Terry Waldron’s Creative Journey
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?????
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!
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.
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.
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
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.
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.
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.
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.
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.
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!
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
You may be interested in some more great Textile Art Business Interviews
I’m glad to welcome Carol Eaton back to the blog to continue our interview. In the first part of this interview, I talked to Carol about her journey into the creative arts. It’s always interesting to learn the different paths we all took to get where we are in our creative lives today. That was certainly a fascinating story of her journey into the arts. In this second part of the interview, Carol will give us some business tips to help us run our businesses better.
Being that textile art is a physically demanding endeavor and not a very scalable one at that, we want to learn about all the possible income streams we can use to make our businesses profitable. You do deserve to be compensated for all the work you do. Don’t you agree?
So let’s start the interview.
Carol, I know you teach surface design workshops. What’s involved in organizing textile art workshops of this nature?
Carol Eaton’s Business Tips on Running Profitable Workshops
My approach to workshops is to really focus on teaching through hands on and verbal instruction. My goal is for students to take their new found knowledge home and feel confident that they can keep creating on their own.
With that being said I spend a lot of prep time making sure the materials are user friendly and ready to go. I organize the workshops so the steps flow smoothly from one technique right into the next. I do my best to be prepared right down to the smallest detail. When the unexpected happens we just keep a sense of humor and figure out how to embrace the “oops”! It’s fabric – it’s fun – it’s ok to go a little sideways!
Benefits of Running Workshops
Carol, what do you see as the benefit in teaching textile art workshops?
As a business owner who sells fabric, the more exposure and brand recognition gained, the better. Developing a personal connection with other fiber artists is invaluable for marketing and networking.
As an artist, I get a thrill out of seeing students get excited about their work! Being with happy people who are expressing themselves creatively – what’s not to love!
Obviously, you’ve been running workshops for years. Would you say, they’re profitable? What are some business tips to help teachers make their workshops profitable?
Workshops are profitable because the teacher determines the value of their acquired knowledge, skill and time and can charge accordingly. The teacher determines how many students will attend the class and can be confident they will meet their compensation goals.
To Charge or Not to Charge Materials Fee
I handle payments in 2 steps. I charge a workshop fee which takes care of my personal compensation. Secondly, I charge a student materials fee to cover the costs of supplies. Charging a separate materials fee provides the teacher with cash flow to make purchases and ensure the students have plenty of materials that are in good working order.
Carol, can you give some business tips on how a teacher determines the right price for their workshops?
Business Tips on Pricing Right
- The first business tip is that the teacher needs to determine the value of their knowledge, skill level and time.
- Then, the next step is to research similar workshops to understand industry standards.
- Once you have a feel for pricing, you need to step back and take a long look at yourself. Do you have national name recognition? Do you have a history of successful teaching behind them? What qualifications do you have? A teacher just starting out might consider less compensation until you have a track record of success and then adjust your fees as you gain more experience.
- It’s important to set realistic fees based on actual teaching experience.
- Like learning any craft, it takes time to become proficient and you have to put in the hours to get to the top of your game as a teacher.
Before we go on, let me make a quick note. For an in-depth look at specific workshop pricing, check out this post and this four workshop pricing models article written by Abby Franquemont.
Getting Booked to Teach
So now, after you’ve designed the workshop, carefully planned the steps involved and priced it right, how do you get booked to teach in different venues?
For me, vending fabric at shows, presenting at quilt guilds, and word of mouth works best. I mentioned networking earlier and I’m proof that it works and it’s instrumental to reaching your business goals.
Thanks so much Carol. You’ve given us so many useful business tips. Right from crafting a workshop to how to get teaching engagements – you’ve covered it all. Thanks for all the business tips. I’m sure a lot of us will move our businesses forward as a result of this knowledge.
Here are 7 more tips for organizing multi-day workshops.
Question: In what areas do you struggle most when creating and teaching workshops? Join the conversation below.
Warmest Regards,
You may also be interested in these fine textile art business interviews.