In the recession waves of the 1980’s most of the top department stores filed for bankruptcy. In the months after 9/11 stores were empty. After the banking crisis of ’09 main street suffered again. Will your galleries survive the COVID crisis? Online sales of art in all price points are soaring. Both Christie’s and Sotheby’s auction houses discovered new opportunities to build relationships with collectors who were homebound during the pandemic. while smaller galleries suffered. The rise in their sales proved one thing… nurturing personal relationships and building a strong network of support is critical to the success of every artist and dealer. While the internet opened many doors for sales… it’s the phone and zoom contacts that closed those deals. Reach out and prosper.

Tis the season for fresh fruits and vegetables …and local handmade works! If you’re participating in a local weekly market here are some great tips to increase your sales for the coming season.

1. Select the Right Market. Visit the market before you apply, and take notes. How many people are making purchases? What types of purchases? What’s the vendor competition for your category. Does the market advertise or promote through social media? Check their instagram and Nextdoor.com activity. If you’re selling something expensive how may luxury cars are in the parking lot? After you’ve picked your market, pick your spot. Vendors will tell you it’s great to be in the middle or near a produce vendor… but not so close that the lines for payment obstruct your booth!
2. What Is Your Unique Offering. If you have something that fills a need, or isn’t already in the market you have a better chance of success. “Local products and local culture products should scream LOCAL as loudly as produce vendors scream ORGANIC.
3. Create a Marketing Plan. The difference between success and failure often relies on how many of your customers you invite. Make sure you know how to leverage your own Facebook, Twitter and Instagram tribe. Ofer a “bring a friend” deal! Neighbor vendors might be able to refer their customers to you… provide them with a small coupon for their regular customers. Handout cards with your website and links for your online channels. eg. Amazon or Etsy.
4. Brand It Well. Your booth display and products should be well branded so that visitors begin to recognize you and differentiate you from the competition.
5. Demonstrate. If you are selling lotions or soap… demo’s work well to bring customers closer and get them interested. Don’t get so involved in demos that you lose a sale.
6. Pricing & Payment. How many types will you accept… the options are growing! Be ready for anything. Accepting electronic payments will increase your sales by as much as 40%!
7. Display. Leave that heavy booth you use for fairs and festivals at home. Farmers markets are simple set-ups… but remember that “Eye Level is BUY Level! Your table may need pvc risers to bring the product up close for customers. Make sure nothing will blow away in the wind. Make sure your traffic flow inside the booth works for browsers and buyers.
8. Selling Tips. Stand, don’t sit. Never read a book, make eye contact. Smile, be friendly… and if you even suspect that they have purchased from you before… honor them by acting like they are an old friend! Make sure they sign up for your private studio open house so that you can grow your mailing list.
9. Know the Law. Every state has consumer protection laws. Many craft or artisanal products have state regulations. Baked goods, soaps and lotions are just a few. There are also regulations for toys! Consumer Product Safety Regs
10. Resources. State Farmers Market Listings Farmers Market Coalition National Farmers Market Association

chameleon

This chameleon has learned to survive by adapting. In this global marketplace adaptation is critical to your survival. You might not need to change your color… but there are dozens of ways to alter your brand just a little so that you can step into new markets and channels. You began your business with selling through one “channel”. It was likely an Etsy shop, an art fair or a farmers market. As production grows so will your opportunities to sell your work in many other places will grow as well. But beware of conflicts that can cut into your sales or destroy your relationships with long term customers.

Sometimes it’s a delicate dance. If you keep the same products under the same brand name… there is a limit to your opportunity for growth. The wonderful stores that sell your work don’t want to compete with every channel you sell through. Every day they watch customers pull out their cell phones and look up products on their shelves to see where it’s sold at the lowest price. With all their overhead, hour retail store deserves that customer.

So how do you keep from stepping on toes or undercutting your opportunity for growth?

Learn to separate your channels.  Here are just a few suggestions.

1. New designs. New products for a new channel.
2. Change sizes, colors.
3. Change your name. Create a new brand or online store name.
4. Bundle products in a new way.
5. White label new designs. Let the customer use THEIR store or brand on your products. Big customers might even prefer this.

There are lots of ways to leverage your style, designs, and ideas so that you can succeed and grow beyond your local market to multi-channel sales. There are even website platforms to help you!

Profiled artist Heather Davis presents encaustic work from her collection. We spoke with her about inspiration and technique.

“Cosmic Plans” Encaustic collage with Napalese paper and oil 12″ x 18″

ABI:  What is the concept behind your body of work?

HD:  My work springs from my love of architecture and history, and also reflects my curiosity about the future. I spent 30 years investing in commercial real estate and infrastructure and I love the projects we created, acquired and financed during that time. In my work I like to celebrate both the creations and those who created them.

“Vintage Plans” Encaustic collage, 14″ x 14″

ABI:  You follow certain classic principles when designing your art. Could you explain this?

HD:  The great masters knew secret principles of organization that they used to create their masterpieces. Some have come to light, like The Golden Ratio and the Phi Grid. I use these principles when planning a piece and I am constantly searching for others.

“Pompeii XXXII” Photo encaustic with oil, 16″ x 20″

ABI:  What is your technique of working with encaustic?

HD:  Encaustic painting employs layers of pigmented molten wax, combined with damar resin for hardness and durability, which is then painted or poured onto a substrate and then fused with a torch or heat gun. It’s an ancient technique that was used more than 3,000 years ago (The Fayum Portraits) and is enjoying a revival today.

“Pompeii XXIX” Photo encaustic with oil, 36″ x 24″

The wax surface can be carved into and rubbed with oil paints, pastels, graphite and other pigments to add additional color. It’s possible to add additional elements in a collage incorporated into the wax medium. It’s a very versatile and forgiving medium.

“Shunya IX” Silver Gelatin Prints, 6″ x 9″ and matted 16″ x 20″ in a soft white cotton rag mat. Printed in limited editions of 30.

ABI:  How did you get started as a photographer, and how did your work evolve?

CD:  My early and undergraduate training was in classical music.  I met my husband when I was a student at the Conservatory of Music in Madrid and after we married, we started moving from place to place because of his work. Many of the moves were international, often to remote places, so it became impossible for me to take my piano. I bought a camera and a few lenses as an easily transportable creative alternative. Seeing the world through the lens of the camera was an epiphany. I didn’t know it at the time, but it would change my life. I guess that was the beginning. From then on, I always had a camera with me.

“Shunya III” Silver Gelatin Prints, 6″ x 9″ and matted 16″ x 20″ in a soft white cotton rag mat. Printed in limited editions of 30.

Years later when we returned to live permanently in New York, I started submitting travel images and was contracted by several stock photo agencies. I was also doing studio headshots and promo material for performing artists, mainly from The Julliard and the Manhattan School of Music in New York, because that was a world I knew and was very comfortable with from my own background in the music world.

“Shunya VIII” Silver Gelatin Prints, 6″ x 9″ and matted 16″ x 20″ in a soft white cotton rag mat. Printed in limited editions of 30.

But in 2001, my professional life took a radical turn. I booked my first trip to Africa.

And I was hooked. I knew I had found my true calling. I fell in love with it’s people, it’s astonishing wildlife and its vast primordial beauty. I very quickly became less engaged in studio work and spent more and more time in Africa. It became my passion and life’s mission. My work there began getting noticed and winning awards. I started exhibiting and was, and am very fortunate to have that work represented by galleries and collectors both here and abroad.

“Shunya XI” Silver Gelatin Prints, 6″ x 9″ and matted 16″ x 20″ in a soft white cotton rag mat. Printed in limited editions of 30.

As deep immersion in the African wilderness became such a significant part of my life, a more intimate and introspective exploration of the rhythm of life and the mysteries it holds, began to emerge. This was a much more personal journey, a spiritual quest that eventually led me to the foothills of the Himalayan Mountains in India. Here I was incredibly fortunate to learn an ancient meditation technique taught directly by one of the world’s rarest living Masters. Over time, a body of work I named Śhūnya began to take shape. Śhūnya means stillness, and these images represent a gateway for the viewer to move inward to the space of deep peace known only when the mind becomes indescribably still. It is a parallel work that also invites the viewer in a more intimate way, into a world of beauty and wonder.

“Infinity” Silver Gelatin Prints, 6″ x 9″ and matted 16″ x 20″ in a soft white cotton rag mat. Printed in limited editions of 30.

ABI: How would you describe the signature style that defines your photography?

CD:  Every artist has a unique vision – a way in which he experiences the world that is a little different than the way most people see it. I have always secretly felt I was mistakenly placed in the wrong century…so it was natural for me to gravitate to sepia tones for the work I do in Africa, and to go back to the darkroom Silver Gelatin printing method for the Śhūnya Collection. Presenting the sense of timelessness – the eternal rhythm and deep peace of the universe…and wanting the viewer to feel that too. So I would say the starkly monochromatic treatment of subjects that most people would not consider presenting without color – to create a feeling, an intimate, personal  experience, rather than reproduce a scene – is what defines my work.

“Shunya XV” Silver Gelatin Prints, 6″ x 9″ and matted 16″ x 20″ in a soft white cotton rag mat. Printed in limited editions of 30.

ABI:  What is the concept behind your current body of work?

CD:  Śhūnya means Stillness….Emptiness…

Through long and disciplined practice of meditation, when the state of Śhūnya is reached, the activities of the mind, intellect and emotions come to a total standstill, and consciousness is experienced in its purest form.

“Shunya XXIX” Silver Gelatin Prints, 6″ x 9″ and matted 16″ x 20″ in a soft white cotton rag mat. Printed in limited editions of 30.

Śhūnya is altogether beyond the reach of the intellect. For this reason, in ancient Sanskrit texts, it is represented by Zero, because all attempts of the human mind to define it, end in Zero.

When the mind becomes so indescribably still, the deepest layer of Awareness emerges, and the profound peace found in the stillness of every heart is revealed. We are surrounded by this stillness all the time, but we miss it because we have forgotten our true nature.

ABI:  How have you evolved as an artist, and how did that lead to the work you do today?

AW:  I graduated art school with a degree in fine art and had dual concentration in fibers and ceramics. It is for this reason that I view myself as a painting “beginner.”

I worked in many other mediums before I came to painting. Artwork and drawing have been a part of my life since I can remember, so painting is my latest endeavor.

After many years of black and white charcoal drawings, I felt I needed to expand my horizons and use color. Painting seemed like a fun challenge. My paintings are generally flat with layers of color. I love creating compositions with shapes and colors and movement.

ABI:  What inspires your art?

 AW:  About 15 years ago, I moved to Florida. The natural world here is so different from what I grew up with in Upstate New York, that I found endless interesting and inspiring subjects to paint. Sea creatures, plants and the water change at every moment. It is easy to find new subjects, shapes, patterns, and colors to explore.

I also have recently spent time studying Spanish, Early European, Roman and Islamic art. I am fascinated by their intricate designs in mosaic tile. Scenes of fish and animal life, patterns rich with colors from different stones, pigments or minerals. These are the artworks that inspire me the most because of the time consuming nature and level of skill needed to produce this kind of  work.

ABI:  What plans do you have for your future as an artist?

AW:  As for the future, I plan to draw more and to paint more. I would love to do some tile projects and create mosaics.

As my children get older I hope to have more time to spend on creating artwork. I would like to build a small business that not only produces an income, but fills my need to be creative.

“Circles of Depth” acrylic on panel, 6″ x 6″

ABI: How does teaching and creating art enable you to live your passion?

GB:  For as long as I can remember, art has been an important part of my life. It is my passion, my life’s work. Whatever my activity, whether I am working with my students, in my studio, taking a walk, or traveling, the creative process is always with me.

“Hilltop Village” acrylic on canvas, 24” x 30”

When my children were young, I encouraged them to draw and paint. We spent summer days drawing together out on the deck of our swing set. We read children’s picture books and talked about the illustrations. In my classroom, firsthand observation of the impact the visual arts have on my students’ academic growth is powerful. Working on my own paintings is just as powerful in that I’m able to create something with my expressive style. Having the opportunity to teach, share, explore, and learn about art is a gift!

“Season’s Change” acrylic on canvas, 22” x 32”

ABI:  What techniques and tools do you use in your studio practice?

GB:  My acrylic paintings are contemporary abstracts. I love to experiment with color and texture. My painting style is spontaneous, but I do give careful attention to the rules of composition. My tools are a varied collection of brushes, sponges, palette knives, rubber scrapers, plastic wrap, or whatever I can find to make a distinguishing mark. I sometimes add other media to my work. I may use matboard or fabric scraps to build the composition before painting. Sometimes I add colored pencil or ink lines to emphasize an edge or create levels of detail above the painted surface.

“Amusement Park” acrylic on canvas, 16” x 16”

Life is busy with schedules, tasks to complete, and time restraints. By contrast, my own painting style allows me spontaneity and freedom to experiment. I am not restricted to a time frame. If the work is not successful I paint glazes over it, leaving the old as an underpainting for the new. I love the process as much as the completed work!

“Giant Redwoods” digital painting, 34” x 45”

ABI:  Tell us about new directions and mediums you are working with.

GB:  I recently began working with digital art. I have taken many photos locally and when traveling, and these are the basis of my work. Manipulating my images in a computer software program allows me to enhance and exaggerate colors and textures, much like I do in my acrylic paintings. One advantage to digital work is that the “paintings” are sold as giclée prints on canvas or quality paper, making the work affordable to many. Though I have not yet done this, I could take the canvas prints in another direction by altering the printed image with paint or additional drawing. The possibilities are endless!

“Virginia Beauty” digital painting, 15” x 20”

My artistic goal is to create interest and intrigue within the painted or digital image. There is a story behind every painting whether the subject is abstract or realistic. I hope that my work allows the viewer to see beyond the obvious. Because I teach creative problem solving, I also want to continue learning about new techniques and become more proficient as a practicing artist. The creative process, whether it be in the classroom or at home in my studio, is the most rewarding aspect of my career.

“Meditation Space” Digital Collage, 4′ x 3′

ABI:  What is the inspiration behind your art?

LK:  Yoga philosophy, travel, nature and culture have really inspired my art as well as helped it develop over the years. As an artist, I started out in mixed media, working with oil, acrylic, watercolor and ink, and also collage and abstract line art. Over the years I gradually moved into graphic arts and digital mediums. I have a love for sacred geometry, nature, patterns and shapes and have a special affinity for rich, yet muted color palettes.

“Moon River” Digital Collage, 4′ x 3′

My art is dreamlike, sometimes surreal and spiritual. I feel that my art as evolved into a cosmic experience, looking for meaning in a very linear world. It inspires me to tap into the higher self to go beyond the physical world, helping me to reflect on the true meaning of our existence and how we are the creators of our own destiny.

“Buddha’s Mind” Digital Collage, 4′ x 3′

ABI:  How does your work tap into the interests of your target audience?

LK:  I feel that there are a growing number of people looking for true meaning and purpose in life, spiritually and consciously. I feel that my art helps the viewer to see that there is a greater power beyond our reality; that the dream state holds the key to infinite possibilities.

“Bird of Paradise” Digital Collage, 4′ x 3′

I would hope that my vision in art inspires people to go inward, to discover and explore their true potential, so that they can access deeper intuition and see magic in their lives.

“Inner Power” Digital Collage, 4′ x 3′

ABI:  What types of products do you sell that feature your artwork, and why do they make sense for your brand?

LK:  Over the years I’ve created several products that feature my art work. I’ve freelanced as a designer for clothing companies, created original artwork for yoga mats, paddle boards, unique branding for companies, and so on.

“Gifts from the Moon” Digital Collage, 4′ x 3′

Personally, I have an Etsy Shop that I focuses on dreamy journals, art prints and small celestial accessories.

“Winged Heart” Pendant – Etched Copper, Red Brass, Bronze and Dyed Agate

ABI: What has inspired you to make such unusual jewelry?

KS: Since I was little it was rather apparent that I liked uncommon things. I didn’t want to be like other kids. As grade school students, we were completely stripped out of fashion identity in school. We couldn’t color our hair, we were only allowed to wear either plain black or white shoes, no makeup and minimal accessories (small earrings/necklaces/bracelets). The only time I had the chance to show my true style was during the weekend when I was out with friends. That’s when I went crazy with jewelry and other quirky accessories I could throw together. After twelve years of being confined in a uniform prison, college felt liberating to me!

“Heart of Lucy” Pendant – Silver, Sterling Silver, Fine Silver, Dyed Drusy Agates

As someone who embraced uniqueness, I found myself always on the hunt for unusual jewelry. When Popnicute Jewelry was born, I made it my mission to empower other women to stand out—to make their unique personalities shine brighter with my jewelry. I learned a lot of different crafts from a young age which has helped hone my vision for designs that are identifiably mine. My inspirations mostly come from nature and textiles. The curious child in me has always been fascinated by the colors and shapes of flowers and leaves. Maybe that’s why I love macro photography as I’m a very detail-oriented person.

“Flower Quilt” Pin – Argentium Silver, Copper and Red Brass

My mother’s side of the family is all so crafty. My mom is good at sewing and one of my aunts is a fashion designer. I was surrounded by pretty fabrics and dressed in custom-made clothing literally since I was born. My mom taught me a little about sewing and hand embroidery techniques, or as much as a child with creative ADHD could take.

While I took after my mom’s aesthetics, I learned how to think outside the box from my dad. He is a civil engineering genius. Although my jewelry style is pretty organic, there are also technical and tinkering aspects to it where you need a little bit of math and ingenuity to pull it off. Like my dad always says, “Focus on the solution instead of the problem.”

“Heart of Meli” Reversible Heart Pendant – Argentium Silver and Labradorite

Being a graphic designer, I loved working with papers and ribbons so I combined and adapted some of the folding and sewing techniques into my art. Layers and textures are “it” for me. When I see an interesting texture, I always think of ways I could implement it into my jewelry designs.

“Heart of Eila” Reversible Heart Pendant – Argentium Silver, Copper, Red Brass, Labradorite and Rainbow Moonstone

ABI: How do you sell your work?

KS: I sell my work mostly online through my website and a couple of art shows a year. I’ve also started selling wholesale and consignment through a local boutique.

“Malachite Madness” Pendant – Copper, Malachite, Swarovski Crystal, Swarovski Pearl and Leather

ABI: What goals do you have for your creative business in the future?

KS: Having been deprived of jewelry education when I needed it most, I’m very thankful to the other jewelry designers who took their time sharing and teaching their techniques online. After getting Popnicute Jewelry established as a brand, it’s my dream to someday build an art jewelry school that is 100% donation funded to provide affordable education for the future generation of art jewelry designers. I’m currently teaching my craft at my YouTube channel as my way to pay it forward to the community that has taught me so much.

“Crown of Thorns” rug, 36″x 22″ Designed and hooked with various types of yarn by Judy Taylor

ABI:  How did you get started as an artist, and how did it lead to hooking rugs?

JT:  I learned to spin yarn in the early 1990’s and as that yarn began to fill up bags, baskets and boxes, was on the lookout for something to do with it that I enjoyed as much as spinning. I found a Claire Murray shop in Poulsbo, WA, saw the rugs made with yarn, and was hooked. This is a somewhat unheard-of craft on the West Coast, so I began to teach rug hooking to other curious yarn enthusiasts.

“Demelza” 24.5″ x 39″, Designed and hooked with various wool and mohair yarns by Judy Taylor

Eventually, that led to writing four books and numerous magazine articles on the subject. I’ve learned that this is a very old craft, but it renews itself with each generation, because it is so creative, expressive and versatile. The yarn (or strip) is pulled up in loops from the back to the front using a hand-held hook, creating rugs that are durable, washable and repairable. Many people balk at the idea of putting rugs like these on the floor, but a well-made hand-hooked rug can be passed down and will last many generations.

“Dresden Plate” rug, 19.5″ x 44″, Designed and hooked with T-shirt strips by Judy Taylor

ABI:  What are the steps in creating one of your rugs?

JT:  I start with a design on paper, to scale for the size of the rug. I transfer the paper design to my linen backing (the most durable and long-lasting backing there is.) I mainly hook with yarn (I have a flock of Jacob Sheep and Angora Goats, so a lot of my yarn comes from their fleece) but I also hook with T-shirt strips and wool strips. It just depends on the project. You never really know what will work until you start hooking.

Artist Judy Taylor hooking a rug

At a certain point, when I’ve made all my decisions about color and design, I like to hook away on the rug without looking at the whole thing. That way, I get that same “ta-daa” feeling that a customer would get, seeing the rug in my booth or on my website. At that point, I may decide to make changes, but I like to see the finished rug before I make any final decisions. Depending on the size and complexity of design, a hand-hooked rug can take anywhere from 30-150 hours from design to completion.

The Great Easter Egg Hunt, 30″x 38″, Custom portrait rug designed and hooked with yarn by Judy Taylor

ABI:  Tell us about your teaching experiences and what you offer.

JT:  I specialize in custom work, designing rugs for people, or even designing rug kits to suit the customer’s taste in color and style. I have dozens of rug patterns and kits on my website, from small ornaments to full-size rugs, plus all the supplies needed to hook, like linen, hooks, yarn, frames, and books.

“Forlorn Hope” 23″ x 29″ Designed and hooked with handspun yarn in natural colors by Judy Taylor

I do a monthly blog, full of tips and techniques for the rug hooker called Hooking With Yarn. I also specialize in repairing and refurbishing old rugs.