Hey Creative Friend, in this post, I’ll show you three awesome ways you can share your artwork on the internet. And I’ll take you behind the scenes to see how I’ve made it work for me. Let’s go!!!
Art has been around for as long as humans have been around. That hasn’t changed. What has changed is the way we consume art.
Historically, art has primarily been consumed in person – by going to art centers, theaters, galleries, and seeing them displayed in both private and public locations. And there are a lot of benefits for that in-person interaction with art.
A recent TIME magazine article discussed the effects of seeing art in person. Two people who hadn’t seen art for two years due to the pandemic, write about their story when they saw art again. The article explores how research shows that we experience unique physiological and psychological chain reactions which make us happy anytime we see art in person.
Even with advancements in technology and the ability to create great virtual exhibition experiences, there’s no doubt that when people see art in person they report a better experience than when they see it on computer screens.
However, the internet is here and it’s here to stay. It has a wide audience of people all across the world who may never encounter your art in person except through the internet. And now more than ever, because of the pandemic, we’ve all seen this play out. People are consuming information online at a rate greater than we’ve ever known.
So, what does that mean for an artist who wants to share your work with the world? Do you only focus on in-person activities because that’s where the biggest impact is made on viewers?
No. You do both.
You don’t ignore in-person events because of the prevalence of art online. Nor do you ignore opportunities to put your artwork on the Internet to give them a chance to shine.
Here are different ways you can embrace use of the internet:
1. Have Your Own Website
Now more than ever you need your own website. A website serves as your online home. A place to go and a place your friends stop by to check on you. It’s also the place where strangers who’re interested in learning more about you, get the story you want them to get, not the story someone else tells them. You also use your website to showcase your artwork on the Internet.
Finally, your website ties everything together for you. When you have an in-person exhibition for example, you post about it on your website to give your followers more details. It’s the way you tie your online presence with your real life events.
To prove that point, my number one source of contacts is hands-down my website.
2. Use Social Media to Share Your Artwork on The Internet
There are so many social media platforms. It can be difficult to wrap your hands around all of them. I don’t advice you to use them all at the same time. My suggestion is to try a number of them and figure out which ones really resonate with you. Where do you feel comfortable showing up as your authentic self? More importantly, where is your audience. Are they on your platform of choice?
Personally, I’ve tried both Facebook and Instagram and I like Instagram far better than Facebook. For me, it’s not only that my Instagram allows me to share my artwork on the internet. I find that I’m able to better connect with people who’re really passionate about art on my Instagram than on my Facebook. However, it took me a long time to get traction on Instagram. I almost gave up on the platform. I’m so glad I didn’t. Now, I get a lot of inquiries about my business right on Instagram.
3. Pinterest isn’t Dead: Share Your Art There
I decided to separate Pinterest because technically it’s not social media.
Pinterest is a search engine, just like Google is. It’s not only for saving your favorite recipes or home decor ideas. Because of the visual nature of Pinterest, you can post your art photos on Pinterest and tag them with relevant information. This way when someone searches for that information, your artwork is likely to come up.
The other nice thing with Pinterest is that unlike social media where your posts scroll away with time, on Pinterest, because it’s a search engine, your image can show up years later when someone searches for information that matches your image.
One of my most popular posts on my Pinterest is when I wrote about marbling on fabrics. In the last 30 days alone, that post has had close to 15K views on my Pinterest. Imagine that. I made that post in 2016. Just as an old post on Pinterest can remain relevant, a new post can too. My next best post on my Pinterest is a post I made only last week about my piece “The Gele Skyscraper”. Within that short time, it’s already had over 10K views.
So, you see what I mean?
You can totally use Pinterest to get eyeballs onto your work. It’s not even about the number of followers you have. It’s about the number of people who’re searching for the information you’ve got and how well you present that information.
Total transparency here… (I’ll show you my dashboard) I have just a little over 600 followers on my Pinterest. That’s it. But I get over 95K views every month and Pinterest estimates my audience size as close to 70K.
The other thing about Pinterest is that it’ll send viewers to your website (yep, your number 1 location on the internet) if they click on the image. There’s so much potential with Pinterest. I could do so much better if I spent a little more time on Pinterest. And so can you.
So, there you have it. Three of the ways, I share my artwork on the internet. There are many ways to do this. At this point in my art career, these are the three that have been most successful for me.
I hope this helps you get a jumpstart (or improve) how you share your artwork on the internet.
Question: Do you have an internet strategy? If yes, what has it been? If No, why not? Catch you in the comments section below.
Warmest Regards,
Just as is the case with the regular job market, there is a lack of gender parity in the art market.
Although women in America earn two-thirds of what men earn, Richard Saltoun, who represents the estate of Helen Chadwick, guessed that art by women sells for one-tenth of the prices for work by their male counterparts.
Over the years, this dissonance in the art world has been well documented. For decades, powerful male gatekeepers have kept women at the margins of the art market.
Since the very nature of textile art has made it a “feminine” art form, it’s not difficult to extrapolate that textile art is even more marginalized. And its artists earn much less than the regular underpaid female artist.
Recent research found that in 2017, sixty-six percent of postgraduate art and design students were female, but just 28% of artists at major commercial galleries were women, a drop from 29% in 2016.
According to Artsy, Melanie Cassoff, the managing director of the research firm, said it’s worth looking at not just the cracks in the pipeline, but also the deeper social forces that channel women and men into different areas of study.
“One can even ask the question: Why are so many women doing these studies?
Is it because women are more creative?
Is it because women are being pushed by their parents to not go into the commercial sector, whereas men are?” Cassoff asked.
“I think the arts are probably an outlier—they’re so badly paid as a career that men are probably discouraged.”
That last part of Cassoff’s statement – economic reasons discourage men from becoming [textile] artists – is echoed by quilt artist Joe Cunningham in my interview with him.
It is therefore really important to figure out why female artists careers struggle. Here are some reasons I got from my research:
Reasons for the Gap in Sales and Representations for Female Artists
- supply and demand (the demand for buying this type of work is very limited)
- the ‘assumption by art academia that women’s work is going to be about themselves’
- characteristics of certain types of works like the smallness of scale, lightweight, delicacy, sewing, and craft; are assumed in art historical literature to be “feminine”
- a majority of museum owners and gallerists are men, and they show works they themselves want to see
- a majority of commercial art collectors are men and they buy works by male artists
- motherhood, family life, and caring for parents
Museums play an important role in how people learn things. So, getting your works in there can be a game-changer for an artist. But, there’s no denying that the chance to exhibit in major commercial galleries is an opportunity not only to get recognition but also for value to be attributed to your works.
Obviously, “opportunity is the key. But how are we going to get it”, asks Faith Ringgold, the famous quilt artist? Until recently, Ringgold spent most of her life without commercial representation, although her work has been in museums and of interest to academics throughout her long career.
Despite heightened awareness of female artists’ work and achievements, the gender gap in sales and representation still persists.
As a result of the disparities, women artists have had to create alternative paths for themselves outside of the mainstream art market.
Here’s how women have charted their own paths
- Resisting the status quo by making their work – on buttons, posters, and other types of ephemeral things – completely different from the art market
- Selling directly to collectors who “don’t follow the art market”
- Teaching Art
- Using grants to support themselves
- Write and Publish books
- Creating opportunities for other women
- Finding support from other women
Progress has certainly been made over the years. But the assumption that time will naturally fix this situation is a scary one. How much time will it take? If we really want it to happen, then we need to actively engage in efforts to make it happen.
Suggestions for Bringing Parity to Commercial Representation & Sales of Female Artists’ Works
- Establish a network of professionals committed to the promotion of art by women (Louisa Elderton, writer)
- Collectors should start buying and supporting the work of women artists (Valeria Napoleone – a contemporary art collector)
- Women should go into the business of building and owning prestigious art galleries (Genevieve Gaignard – artist)
- We must raise our daughters differently and we must also raise our sons differently – (Anthony Spinello – Gallerist and Curator)
- I expressed my personal ideas about how this can happen in the article: Can Women Reshape Contemporary Art.
Part of making these changes happen in our industry is recognizing the value of textile art and helping others do so too. After writing the article Can Women Reshape Contemporary Art, I felt a strong urge to personally commit to making this happen in my own small way.
A few months after writing that article, I started an Instagram account where I curate and showcase awesome textile art from around the world. I’m encouraged by the response so far. This week, we got a thousand followers and one post reached over 20,000 viewers! For an account that’s only a couple of months old, that’s really something.
Artsy has a wonderful 3-part video series on gender equality in the art world. It’s really worth the time to watch all three very short videos. The videos feature story-quilter Faith Ringgold (whose work I reviewed in this article) plus some other artists.
Question: Do you think the gender gap in sales and value of female artworks will change in your lifetime? What suggestions do you have for effecting this change?
I can’t wait to read your comments.
Warmest Regards,
Further Reading
Redressing the Balance: Women in The Art World
The Market is Finally Catching Up with Strong Artists it Ignored
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,
An Interview with Astrid Bennett
Hi, there welcome back to part two of my chat with Astrid Bennett – President of Surface Design Association. (Check out part 1 of the interview here). Astrid also served as longtime manager, marketing director & co-owner of Iowa Artisans Gallery in Iowa City.
There are many gallerists who have no knowledge about textile art but on the blog today we’re blessed to have someone who does. Astrid knows a lot about this medium both from the perspective of an artist, a gallerist, and a leader in the industry.
In this second part of my chat with Astrid Bennett we discuss:
- The importance of gallery relationships for artists.
- How to get into a gallery relationship
- The expectations galleries have of their artists
- Astrid’s personal tips for artists to create robust marketing strategies and
- 5 tools and resources Astrid can’t do without
The Importance of A Gallery Representation
CN: What is the importance of a gallery relationship to an artist who’s marketing her work?
AB: If an artist is interested in a career and selling their work, galleries are the next big step after selling on Etsy or in craft shows. However, many galleries have closed. So, it’s all the more important to cultivate good relationships with ones that do exist if you have the opportunity.
If an artist is simply interested in exhibitions, creating work to sell in a gallery may not be necessary. In that case, establishing a very solid exhibition record and attracting the attention of curators is key. Fortunately, artists now have so many more tools to make that happen themselves, through the internet and social media.
How to Get into a Gallery Relationship
CN: How does one get into a gallery relationship? What do you need to pitch a gallery?
AB: First of all, you MUST do your homework. Visit the gallery if possible. If not, explore their website and social media thoroughly. If it’s a gallery that only features rotating exhibitions, it will not work to pitch a line of tea towels. This may sound obvious, but to many artists, it is not.
Second, many galleries specify procedures for review of portfolios. Follow their guidelines. Do not show up unannounced to present your work- that just generates frustration with you and will not be a good way to start your relationship, if you even get that far.
Don’t bring work that’s hard for the gallery to store during review, and for heaven’s sake, don’t bring work that is still wet! (Believe me, I have seen that with wet oil paint.)
If the gallery does have portfolio reviews, don’t question the outcome, don’t expect critiques- there are many reasons why perfectly wonderful work might not be a good fit. Just move on to your next prospect. Sometimes a gallery will want to try your work on a probationary arrangement. In that case, be open to their suggestions and help them help you be successful.
The expectations galleries have of their artists
CN: What are the expectations a gallery has of an artist whom they represent?
AB: It’s so important to demonstrate professionalism to the gallery/shop staff. Communicate with us in a personable way. Be open to our suggestions, knowing that it’s entirely your decision whether to adopt them or not. Gallery staff has experience with what customers look for. Be organized with your shipments, your commitments, and your work habits. One of a kind work sometimes will develop an issue that needs fixing. Handle customer service issues, if they arise, by problem-solving with staff to see if it’s a reasonable request, and follow through if it is. Convey your recent awards. Cross-market with your galleries on social media. And attribute: Mention your galleries and shops on your website.
Lastly, and most important: don’t sell your work for less on your website than you would expect a gallery to sell it for in their store. Doing so will lose you those gallery venues. Their overhead is huge, and nobody is getting rich. And you should be paying yourself that overhead if you sell your own work online.
Marketing Materials Artists Should Have
CN: What types of marketing materials should an artist always have?
AB: Artist statements that explain the story of you and your work; current resumes; up-to-date website; social media presence. Sending business cards to a gallery is not necessary. Staff will not give them to customers as they want to drive sales through their own stores. If you provide pre-printed materials for galleries to distribute to customers, which is always appreciated, try not to list your contact information.
CN: How much time should textile artists be spending on their marketing efforts?
AB: It depends on what your goal is. If you are focused on making a career, either through sales or as an exhibiting artist, you have to spend a lot of time on paperwork and promotion of your work. That’s just part of the process.
Where Textile Artists Should Focus Their Marketing Efforts
CN: Who and where should textile artists be focusing their marketing efforts?
AB: With the internet and social media now, this is a rapidly changing world. Even long-time businesses don’t quite know how and where to advertise. If your goal is a local audience, choose local favorites, like public radio sponsorships and collaborative partnerships with nonprofits. Put the occasional ad in a publication if you want them to pay attention to you. (Despite the fact that editorial and advertising are on separate tracks, there is overlap). Consider homebuilder tours and associations if your work fits well.
Paying attention to your internet and social media presence is probably the best thing you can do. Tag organizations like the American Craft Council – perhaps they’ll do a blog post about your work or include you in holiday gift guide.
If you do the right kind of work, consider the outlay of cash for a wholesale show if you want to develop a wholesale line to sell reliably on a regular basis. Some shows have easier entries to emerging artists. It may take a couple of years to establish yourself. Practice creating a good booth and try local “fairs” as test runs and for feedback.
Lastly, providing your galleries with great images allows them to use them in their own marketing, which can bring you customers.
CN: Astrid, these two questions are reader favorites. First your personal tips. What are six (6) tips for artists to create robust marketing strategies for themselves and their works
Astrid Bennett’s Tips for Creating Robust Marketing Strategies
- Know your story and articulate it in your artist statement.
- Create different statements and strategies for different purposes, ie: gallery sales of functional items vs what you submit to an exhibition.
- Leverage concepts such as locally-made, American-made, or sustainably made, to your advantage.
- Collaboration and cross-marketing are key; networking is effective.
- Value the time you put into your website and building your social media presence as well as any newsletters you might create.
- Make it visual: always document and photograph.
CN: Second. What are your 5 favorite tools or resources you can’t do without?
Astrid Bennett’s 5 Favorite Tools and Resources
- My technology- laptop, iPad, iPhone
- A great, adjustable comfortable computer chair with arms!!!
- Organizations for networking and idea sharing: we all create our joint history (here are reasons you should join a pro organization). Some examples are: Surface Design Association, Studio Art Quilts Associates, Textile Society of America, the American Crafts Council. And I like all the great craft schools like Penland, Arrowmont, and Haystack.
- Dreaming time- whether by walking, visiting places, take the time to open your eyes to new impulses, ideas, and influences. These will help keep your ideas fresh.
- My collection of music. I like Bach, Shostakovich, Chris Thile’s Goat Rodeo, Latin American music, and more.
- Procion MX dyes from ProChemical & Dye or Dharma Trading Co, plus fabric from Testfabrics
Interview Highlights
- If an artist is simply interested in exhibitions, creating work to sell in a gallery may not be necessary.
- Many galleries specify procedures for review of portfolios. Follow their guidelines.
- There are many reasons why perfectly wonderful work might not be a good fit.
- Cross-market with your galleries on social media.
- You should be paying yourself for overhead if you sell your own work online.
CN: Thanks so much for taking the time to join me on this episode of Textile Art Business Interviews. I appreciate you.
AB: Thank you, Clara!
Hope you enjoyed this interview. Check out Astrid Bennett’s website here.
Warmest Regards,
Read part 1 of this interview here.
An Interview with Astrid Bennett
In this edition of textile art business interview, we’ll be talking about marketing for textile artists. I’m pleased to welcome Astrid Bennett to the blog to help us with that. Astrid is the current President of the Surface Design Association. She received her BFA in printmaking from Indiana University and has exhibited and taught at various locations throughout the country. She also served as longtime manager, marketing director & Co-owner of Iowa Artisans Gallery in Iowa City.
There’s so much to talk about with Astrid. So, I’m going to break this chat into two parts.
In this first part of the interview, Astrid and I discuss:
- Astrid’s creative Journey into textiles
- Why she likes to work with textiles in particular
- The secret to selling art & how to make it easy for galleries to sell your work
- Tips for marketing small fiber works
- The importance of having a good website PLUS
- She recorded a special encouragement video for all of you my readers, to encourage you on your creative journeys
Let’s get started.
CN: Hi Astrid, welcome to the Clara Nartey blog and this edition of Textile Business interviews. It’s wonderful to have you on.
AB: Thank you, Clara. It’s a pleasure to be able to give back.
Astrid Bennett’s creative Journey into Textiles
CN: Astrid, tell us about your early influences and how you became an artist.
AB: I always “made things” as a child and was surrounded by art. “Blessed” with a strong right and left brain impulse, my family, who came to the US from Europe when I was a toddler, had a strong orientation to projects, working hard, and nature.
My art training did not come until college. I am probably the only kid in my class who grew up with German Expressionist nudes in the house; this background also gave me a strong sensibility for materials. I trained as a musician; this remains a strong influence on my visual vocabulary.
CN: Why did you choose textiles as your artistic medium? Is there any special reason?
AB: I was studying printmaking in college but gravitated to textiles at the very end because I could work large and in a modular fashion. During my textile career odyssey, I did weaving, quilting, and now mixed media, but always with painting and printing fabrics at its core. I like the tactile qualities of textiles and prefer the drag of the brush on fabric as opposed to paper (I currently do both, with drawings on paper later translated to cloth and screen print designs.)
Astrid Bennett: Working as a Gallery Owner
CN: Tell us a little bit about the art gallery you managed and then co-owned for 34 years.
AB: Iowa Artisans Gallery is really a contemporary crafts shop that was started by 12 artists in 1984. (I was pregnant with my third child at the time and was a consignor.)
I joined the gallery in 1991 as a very part-time PR coordinator, later managing and then having co-ownership with the remaining 5 owners. The Gallery is a destination business in a historic building in downtown Iowa City, known for its large university, its writers’ workshop, medical school and for inventing the MFA degree. The Gallery sells work by close to 200 artists in a 4000-square foot space.
I liked to tell people that 96% of our inventory was American made, and 4% Canadian.
When I worked there, we had a 50-50% mix of consignment and wholesale (store-owned) work that we located at national wholesale shows, through portfolio reviews, and online. Although I did teach fiber art at the University of Iowa for one year until they shuttered the program,
I like to think that I had a teaching mission at the gallery: teaching the public, artists, staff, about the power of art and creativity.
In May 2017, we sold the Gallery to a staff member and two other people who are leading it in their own directions. We are very pleased that it continues to thrive. Retail is undergoing tremendous changes in the internet age.
Marketing for Textile Artists: Your Website
CN: Now that you bring up the topic of retail, let’s talk about marketing for textile artists. You and I met because you saw my website and liked the job I’m doing with my marketing. What are the things gallery owners like to see artists do with their websites and why?
AB: Let’s face it: most artists will not have big museum shows on a regular basis, or ever. But they do stand a chance to be recognized in the community, not just the local community but the community of art lovers and customers nationally. This contributes to economic success if that is one of their goals.
As Gallery or shop owners, we like when you make it easy for us to sell your story because that’s the secret ingredient to selling art. Presenting yourself in an engaging and friendly way on your website and social media helps people connect with your work and with you as an artist. Customers want a part of that story when they purchase your work. When I see someone who “gets” that, it excites me!
Marketing for Textile Artists: Contemporary American Craft vs Textile Art
CN: When we’d chatted prior to this, you’d mentioned that it’s more challenging to market textile art than it is with other media. What are the particular challenges textile artists face in marketing their works?
AB: In my considerable experience selling contemporary American craft in a Big-10 University town (which is one of the best places to have a gallery or shop of that kind), fiber art was always much harder to sell than jewelry, the #1 seller for most contemporary craft retailers.
Jewelry has broad appeal: to women for themselves or their friends, to men for women in their lives, and as impulse purchases easily transported while traveling.
Ceramics or wood or metal also do well and are functional works that also appeal to men. We also sold a lot of works for the walls- original prints, paintings, etc.- but the pool of artists who want to supply that kind of work is huge compared to the relatively small group of textile artists.
Another factor is the large population group that comes in, sees textile work and says, oh, I could make that myself, which is rarely true. Please note that I am not discussing clothing here, which has its own set of conditions (fashion-purchasing mentality, size and fitting issues). We only sold scarves.
Marketing for Textile Artists: How to Sell Textile Art alongside Gift Items
However, here are some notable exceptions regarding sales of textile art. I like to divide textile work into two categories: functional and decorative (works for the wall).
Functional works that can be purchased as small gifts, wedding gifts, hostess gifts and/or that reflect a local icon or environment do well. Pair them with ceramics or wood in displays. For example, I have sold literally thousands of tea towels with non-sports cultural icons of Iowa City, or prairie plants. I include a “what’s what” guide to the images included.
Affordable handbags do well; more attention has to be paid to fashion trends for these. Scarves have traditionally done well but may be more popular for an older demographic now. Interesting pillows can work (although costs are hard to recoup). Sometimes our fiber art sales mushroomed due to adding an artist with an approach that no one could resist. Examples are the Velvet Moustache pillows,
If the store is known for an eco-conscious philosophy, pairing eco-conscious processes and materials works well. If the store specializes in home décor and furniture, pair your work with these. (The internet is changing this market rapidly, as you can see from watching HGTV.)
Wall art is where the large ticket items sell. Even selling one large piece often exceeds sales of multiple small functional items. So, artists need to decide where they want to devote their energy. For this approach, also consider galleries or art consultants with connections to corporate or hospital installation and designers if possible (these are harder to make happen these days).
While I have sold many large abstract art quilts over my career, the prevalence of quilters in society at large and the downturn in 2008 contributed to somewhat waning sales for these.
Marketing for Textile Artists: Tips for Marketing Small Fiber Works:
If you are doing small wall pieces,
- a large piece can make the smaller ones look affordable.
- remember that with small pieces, it’s all about presentation, presentation, presentation. Consider it to be an object.
- mount fiber art or frame it somehow, even if without glass (see how to frame fiber art behind glass).
- consider pieces for a modular display. Your work will be competing for customer attention along with many other artists in the venue.
- Make it easy for the store to display your work.
Marketing for Textile Artists: Textile Art Trends
CN: Astrid in our conversation earlier, you also touched on the fact that nationally, textile art has become much more prominent, so it’s an interesting time for marketing textile art. Can you explain that some more?
AB: Textile media being incorporated into art is huge right now. I say this because mainstream sculptors are using textiles in their work, as are students, and male artists and others who long embraced other materials. Textiles have so many important cultural stories to tell.
In addition to that, the DIY movement has spawned first an interest in knitting and silkscreen, then embroidery and modern quilting.
Now we are also seeing weaving become important to younger artists, even as college programs have closed and sold their weaving equipment.
Early adopters of Instagram have huge followings. These woven works are fairly simple, favoring materials that speak for themselves, are sculptural and imbue color. This work is surprisingly saleable in some venues, although I don’t think it would have been in mine. Check out Alicia Scardetta on Instagram.
Another whole group of textile practice goes to make exhibition work that is often socially engaged. This kind of work is rarely saleable in a standard gallery or shop, but it makes for great resumes. Artists will sometimes do both “lines”, ie exhibition work and a line of up-cycled repurposed printed linens for bread and butter sales.
Astrid, this here is a great point to pause the first part one of this interview on marketing for textile artists. In part two, we’ll pick up where we left off on the topic of galleries. We’ll answer the questions – why do you need a gallery representation, how to get one, what are the expectations of gallerists and much more.
Confidence Boost for Creatives
Click to watch the video: Astrid Bennett on Creativity
Interview Highlights
- As Gallery or shop owners, we like when you make it easy for us to sell your story because that’s the secret ingredient to selling art.
- I like to think that I had a teaching mission at the gallery: teaching the public, artists, staff, about the power of art and creativity.
- Let’s face it: most artists will not have big museum shows on a regular basis, or ever.
- Make it easy for the store to display your work.
- Textile media being incorporated into art is huge right now. The DIY movement has spawned an interest.
Tha’s it for now. Hope you enjoyed part 1 of “marketing for textile artists”. See you in part 2 of the interview.
Warmest Regards,
A Look at Why Textiles and Travels Are Linked
In this edition of the Textile Art Business Interview, I’ve got Youngmin Lee here with me. Youngmin Lee is a Korean Textiles artist who has presented numerous workshops, classes and demonstrations on Korean arts and crafts around the Bay Area and in the Asian Art Museum in San Francisco. I’m glad to welcome Youngmin here to the blog.
Youngmin and I discuss:
- Youngmin’s Creative Journey into Korean Textiles
- The Traditions of Bojagi and Maedub Korean Cloths
- Her Korean Textile Tours and
- Why Fabric lovers like to travel
- Youngmin’s business tips and her favorite sewing tools
- PLUS a confidence boost for all of us creatives (watch Youngmin on VIDEO)
Let’s get started.
Short on time, but want to check out the interview? Grab the free Youngmin Lee’s Interview pdf and enjoy at your convenience.
Youngmin’s Journey into Korean Textiles Art
CN: Youngmin, tell us about your journey into the textile arts. What were your initial influences and what made you decide to pursue this path?
YL: I’ve always loved making things, and fabric has always been my favorite material. I studied Clothing and Textiles in college and Fashion Design in graduate school.
After I finished my education, I worked as women’s fashion designer. In Korea, I was more interested in modern and contemporary designs, but after moving to California with my family, my interest moved to my native country’s culture and art forms.
After I moved to the US, I was busy adjusting to the new language, new environment, and new culture. While I was adjusting to everything new, I wanted something familiar with which I could unwind and relax. Traditional Korean textiles art felt natural to me.
CN: Interesting!!! So, moving away from the things that were familiar to you, made you miss them. I feel like that happens a lot. You tend to appreciate something more when you’re away from it. You use these Korean words very often. Can you explain to us what Bojagi and Maedub are?
Bojagi and Maedub
YL: Bojagi are Korean wrapping cloths for wrapping, covering, carrying, and storing objects. It embodies the philosophy of recycling, as the cloths are made from remnants of leftover fabric. It also carries wishes for the wellbeing and happiness of its recipient.
I chose bojagi as my creative medium as I appreciate the beauty that results from the long and slow process of hand stitching. My Bojagi work reflects myself, as it has traditional Korean roots as well as more modern influences from my life in America.
Maedub are Korean traditional decorative knots that have been used for centuries to decorate traditional dress and ritual objects.
Instructions for making them have been passed down through generations of skilled artisans.The knots were decorative items used on male and female outfits. For men, the knots attached a wooden identity tag to the sash of his outer garment.
Knots to decorate a folding fan were exclusively used by the scholar-officials. Knots and tassels were also used to decorate pouches, spectacle cases, and other items.
Norigae, knotted pendant trinkets, were used by women. Knots embellished many other personal belongings of women such as earring tassels, pouches, and various headgears
CN: Wow!!! So much tradition and history in these cloths. Are there additional reasons you choose to create with fabrics?
YL: Fabrics are tactile and tangible. I love to touch, feel and create something out of it.
Fabrics are very forgiving and embracing yet strong, and they feel like a natural medium for me to express my emotions.
CN: What types of fabrics do you use for creating Bojagi and Maedub and where can someone purchase these fabrics?
YL: I use Korean silk gauze (sukgosa), brocade, organza, mosi (ramie), sambe (hemp) and cotton for bojagi making.
Most of my materials are directly from Korea, so I supply my workshops with fabric and sell to people who want to try bojagi.
It is very difficult to purchase these materials in the US. I travel to Korea every year and bring back fabrics. I have a website and an Etsy store where people can purchase fabrics, DVDs and bojagi making kits.
Maedub cords are also hard to find in the US. I go to the wholesale market in Seoul.
Youngmin’s Inspiration for Korea Textile Tour
CN: What inspired you to go further with your love for Korean textiles and build a business around an art form that most of your audience has no idea about? What has the response been?
YL: At the beginning, Bojagi was just an outlet for my own creativity. I had to create something and bojagi was calling me. Gradually my work got some interest and attention from people who love textile art.
CN: You’ve got a multi-pronged approach to your business. You teach, offer tours to Korea, and you sell on Etsy. Can you tell us more about your Korea Textile Tours?
YL: I was dreaming about sharing bojagi and Korean art and culture with people from all different cultures. Once people start learning about bojagi, they wanted to know more about Korean art and culture.
Last year I started the Korea Textile Tour with two other friends who helped me. I took a wonderful group of textile enthusiasts to Korea and we visited museums and galleries, palaces, Hanok (Korean traditional house), temples, artist studios and workshops. And we visited fabulous fabric markets in the heart of Seoul. We also had a chance to taste Korean foods including vegan temple foods, famous Korean BBQ, dumpling soups and the many side dishes.
CN: That sounds absolutely fabulous!!!You must get a lot of feedback from your trips.What are the biggest takeaways for those who’ve traveled to Korea with you?
YL: People commented on the unique chance to see Korean art and culture by visiting museums, galleries and artists’ studios. Workshops gave them a chance to experience indigo dyeing, maedub and hanji (Korean mulberry paper) and more. Likeminded people shared precious moments and experiences together and built good friendships.
The Link Between Textiles and Travels
CN: You see textile artists traveling to teach, students traveling to learn, and popular quilt retreats being done all over the place. What is it about textiles that make them so suitable for traveling/tours. What is the connection?
YL: I feel that people build a small creative community by traveling together and their experiences often evolve to inspiration. Travel and textiles are linked by the creative energy that flows in between them.
CN: So, what are you currently working on?
YL: For my recent bojagi work, luminous mother- of- pearl lacquerware inspired me. I used a technique called “jewel pattern” and “Ssamsol” to reproduce the feeling and process of Korean lacquerware onto fabric.
The iridescent colors of mother-of-pearl on lacquerware reflect hidden efforts and time. I have made these works as an homage to the enormous labor and care that Joseon-dynasty mother-of-pearl artisans endured to prepare and inlay the natural materials on wooden surfaces.
Although the materials are different, I patched the small pieces of fabric together to transmit the essence and philosophy embedded in Joseon mother- of- pearl lacquerware. These are my interpretation of my tradition, as well as a reinterpretation of my native culture.
CN: 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 or helps you a lot. Readers love to use the same things their favorite artists use.
Youngmin Lee’s Five Faves
There is an old story in Korea. The 7 friends of a woman (Scissors, ruler, needle, flat iron, iron, thread, and thimble) had an arguement about who is the friend who supports their owner best. I often use this story to introduce my best friends.
- Hera marker (This looks like a cool tool, Youngmin. I’ve got to try it)
- Rotary cutter and I love the 28mm small blade (because I usually deal with thin, small, and fragile materials such as Korean silk gauze & silk organza)
- Needle threader
- A pressing iron and
- My bojagi DVDs are my new friends.
The second question is this: “Based on your experience in bringing Korean Bojagi to American textile artists and enthusiasts, what are your 6 tips for creating a buzz about an unconventional business idea? If someone had an unconventional idea which they wanted to pursue, what’s your advice to them?
Youngmin Lee’s Six Tips
- Write down your ideas,
- Invest your time to create visual materials,
- Go out and meet people who might have interest,
- Take good photographs and use them on social media,
- Be nice and friendly.
- Good karma always brings you more than you give.
Thanks so much for this interview about Korean textiles, Youngmin. To learn more about Youngmin and to purchase her products and take her classes, visit her website YoungminLee.com , her Korea Travel Tours, and her Etsy shop.
Confidence Boost for Creatives
Interview Highlights
- I chose bojagi as my creative medium as I appreciate the beauty that results from the long and slow process of hand stitching.
- I feel that people build a small creative community by traveling together and their experiences often evolve to inspiration.
- Be nice and friendly. Good karma always brings you more than you give.
Thanks for reading.
Warmest Regards,
And, as always, if you know someone that might benefit from this post, please do share it with them – they won’t be mad at you for providing them value. Promise!
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,
My dear creative friend. You won’t believe what I’ve got today. I have been interviewing textile artists for a couple of years now and every time I ask this question: “why do you use textiles to create art”, I get answers as varied as the artists themselves.
I’ve found each of the answers revealing- digging a little bit deeper beyond the surface. They don’t only go into their motivations for why they use textiles to create art but also into their own personal narratives as artists.
Today, in their own words, find the interesting reasons why the experts use textiles to create art. Here you go…
Why these Experts Use Textiles to Create Art
Kate Themel
Using fabric offered me a way to work without the toxicity of paints, oil, turpentine etc. And it also lets me work in smaller chunks of time, not worrying if my paints would dry up before I could finish a composition.
Cheryl Rezendes
At one point, I sold most of my sewing equipment and I then had a really productive year putting together a great body of work. And a successful run with my paper collages getting into galleries etc. But there was only one problem. I found that I missed fabric! I missed it simply running through my hands. And I missed sewing!
Diane Wright
“I think it’s layering together memories. There’s a narrative to the raw material in a fabric, that’s not available in a tube of paint. The fabric as you hold it, says, “this is where I come from” in addition, the artist imposes a narrative on top of the fabric’s own narrative.”
Joe Cunningham
Making quilts was a way to trick myself into becoming an artist. I could think that I was only making a quilt like my grandmother had done. That way, I did not have to declare I was trying to be an artist at first. By the time I realized I was an artist anyway, I had become completely self-identified as a quiltmaker. Fabric is all I know. I have never worked in other media. When I am sewing I feel like I am free.
Cindy Grisdela
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.
Laura Bundesen
I’ve had a love affair with fabric and thread for over 30 years.
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.
So here you have it- in their own words, why the experts use textiles to create art. This is going to be an ongoing series. So stay tuned for more.
Your Turn
Why do you use textiles to create art? Can’t wait to read your comments.
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,