Ever Wonder?

Do you ever wonder where your work wound up?

Ever want it back?

This happens to me sometimes. I made a sugar and creamer once - strictly experimental piece - that I sold at a show. Thank heavens I took a good photo for future reference.

This little "Tea for Two" pot also went and in this case, I knew the woman who bought it would use it. And that feels really good.


One piece that I think I will always wonder about is a large square teapot. It had been included in the first book, 100 Teapots.  It was sold before the book came out and try as I could, I could never find the new owner to let them know their teapot's image had been published.

Too bad galleries don't help artists track their buyers. I suppose they assume the two parties will go around them on sales, but that's wrong thinking. Cooperation and good communications between buyers, galleries and sellers has great potential to encourage even more sales for everybody.

I would be happy to let my buyers know where they could find my work. I'm sure galleries would appreciate artists who tell their buyers about the gallery or a show. And I know buyers appreciate information about where to find more of your work.  Think positively!

Selling

I've just been reading an interesting discussion on CLAYART* email about selling on Etsy.  Some potters evidently are doing well--especially if they are offering those "Make your Rent" kinds of things that sell for around $20.00.

Even though it rankles me to do it too, I have also make those little kiln-fillers for sale. I'm not saying anything about individual's potter's choices. I'm speaking for myself totally.

As a matter of fact, it always amazes me that a lot of show patrons will buy several little things like this when, at the end of the day, they could have spent the same amount and come away with a single treasure.

Anyway, back to the discussion.

It seems that I've heard this kind of sales song before. Those who make the "Make your Rent" stuff and work out a simple plan are doing okay. But, like shows, it's patchy. And, it seems, the fees for listing, and other special features can add up in a hurry.

Shows offer space at a price. Shows attract buyers. Artists set up booths and sell their work and if they are lucky, they make a profit. Seems like the same thing happens with sites like eBay and Etsy. The venue is offered, artists make stuff and the promoters are the ones who really make the money.

There must be a better way.



*CLAYART is an international discussion group open to potters, suppliers, etc. of all things clay. If you want more details, comment and I will send you the information. I learn something new every time I read it.

Logo Experiments

I've been trying out some new logo ideas.  I need tags for my pots for an upcoming show and my old tags need to be refreshed, design-wise.

Since I did my last batch, I've changed computers and graphics programs.  What a pain! It required some redesigning to get a design resource sheet like this one done. I can take one of these rows and convert it into multiple repeats as a one-design master sheet. This sheet was done to see how new ideas would work out.

I started off this series by scanning one of the old hangtags and using that image, manipulated it around for a while trying different designs.  When I get something I like, I'll run off a couple of master sheets and put them into a dedicated folder so I can reprint different cards and tags as I need them.

On the sheet above, the first and third rows will probably be used for price tags because they will be printed in large batches and they take less ink to make.

The darker design will be used for more expensive items or for contact info cards, thank yous, or other special printing.

I will take each one of these 4 variations and make a master sheet of each.  That will give me 4 different logos to duplicate.

For a hangtag, I can run off a sheet and punch holes in the top, put in some black embroidery thread for the tie and attach them to the pots. The design must take into account that a hole will be punched in the top, so room has to be left for that. I want to see how the would look on a pot. There's a lot of difference in how they look on a sheet of paper in a row and how they will look individually.

A blaring, dark row will look entirely different as single tags. Likewise, a lighter design might turn out to be wimpy.  We'll see.










I like to use a creamy heavy paper for my printing. With a strong black and white design, you can print the cards off on any color paper.

It gets complicated, but there's lots you can do between a simple graphics program, a scanner and a good printer. Oh, and a big paper-cutter.

More drawer rifling. Obviously, I'm on a cleaning jag.

From time to time, I've designed business cards using computer programs.

One beloved program which is sadly no more was SuperPaint, a simple design program that worked on (now) ancient Macintosh. It ceased to exist after 1992.

 I loved it.

 I made this using Super Paint:

And this:

(Yes, I have been in the antique business too. For several years, my husband and I did shows and had spaces in antique malls.)

When a few promo cards for a clay show came back because of a few  bad addresses, I cropped photos and stuck them in an envelope. Later,  I scanned one into my images program.

With a bit of tweeking, it might be handy later on a future card.

Shows

Sometimes, when you're doing a show and you've set up your booth, when the doos open and the customers come in, the cosmos come into alignment.

The right work is sitting in your booth and the right customer appears and snaps it up.

Hallelujah!

This is exactly what happened with this salt and pepper.

You can almost see them coming. They zero right in on the item, scoop it up, don't quibble about the price.

This is a golden moment.

Don't let that customer escape. Talk to them while you wrap up and bag the item. Don't hurry.

You want to know this person. Find out why they like what they bought. How they plan to use it. Try to establish a rapport; a relationship. This is someone who 'gets' you and your work.

Gently suggest they join your mailing list. Let them know about your next show. Make sure they get your card and contact information. Invite them to your studio, if it's feasible

Maybe slip a little "Thank You" into the bag in the form of a small spoon rest, a coupon for 10% off, any little something that will be a surprise when they get home and open the bag. You want them to tell their friends about the piece they bought and the wonderful potter who made it.

Add them to your customer list when you get home.

Put a star by their name.

You want to see that person again.