Personal Appearance and the Pathetic Aesthetic - Where's Tim Gunn When You Need Him?

PATHETIC-AESTHETIC-appearance-t-shirt-apron

Wanted-Better-Display-6-iPATHETIC-aESTHETIC-appearanceThere are a couple more issues related to the previous post, WANTED Better Display - Offender # 6 Pathetic Aesthetic.
The first is a very personal, yet important component to the booth display aesthetic -- the artist's appearance.

Yes, YOUR appearance in your booth should reinforce the aesthetic signature of your display and your work.

At every art and craft show the appearance of the artist is very much a part of the story that your customers want to buy. The moment someone walks into your space, the artist/maker is playing a role as the creative individual that every customer wishes they could be. This is why so many art/craft shows require the artist/maker actually be there to sell their work. 

The artist/maker is always selling more than just a vase, plate, cups, clothing, piece of jewelry, sculpture or painting. You are selling the personification of the creative individual. YOU are the star of your booth! You are walking your own red carpet moment in your booth, yet too many artist's and makers let this moment slip by due to a disappointing pathetic personal aesthetic.

Where is Tim Gunn when you need him with his sharp eye?

O.K., runway couture is not really expected, but "for maximum impact the aesthetic of your booth display needs to align with your art/craft, absolutely 100% down to the last detail." This includes you. 

Almost any attire can work, but there are some definite do's and don't's. 

Artist attire should match the price range and style of the work.

David Guiletti at his booth at ACC San Francisco 2015 David Guilette & I had a pretty frank discussion about his shirt at ACC San Francisco.  The picnic casual plaid of blue and white did not match any other feature of his display nor did it reflect the price point of his work.  

 

Jonathan SpoonsThe Jonathan Spoons husband and wife team both wore the same brown shirts matching the burnt wood colors of their display. The individual utensils were mostly about $35- $50 so the matching t-shirt and tank were completely fitting in every way.

Wardrobe choices can't get any simpler than a t-shirt or tank, but it fits their booth perfectly. When walking up to the booth display, there was no question that this dynamic duo were there to represent and sell their work.

Artist/maker clothing style should match the artistic influence expressed in the work for sale.
Davide-Bigazzi-display-materialsDavid Bigazzi wore a white shirt that felt like a classic, European styling. This matches his technical background and the metalwork. 


WP_20150802_021emiko oye wore a contemporary white and bright combination to match her booth and jewelry.

 

 

Apron-logo-printedA potential customer should be able to walk up to your booth and identify the maker/artist/craftsperson immediately without confusion or hesitation. Other wardrobe possibilities could include an apron, dress or shirt made from the same material as the booth background, booth theme or display materials. 

It doesn't take much effort to align your appearance to the aesthetic of your booth display and walk the walk to success, but you have to think about it. It is a shame that so many sellers miss this opportunity to impress. 

Am I asking too much that your appearance align with the aesthetic of your booth?  No way! Your customers are accustomed to going to stores and restaurants every day where the employees wear clothing that matches the style of the store or venue.  High end stores to discount stores control every aspect of the retail experience. So should you.

Dial-up-aesthetic copyEvery aesthetic decision about your booth affects the customer experience and can move it from pathetic, to average, and into extraordinary. Using the words of Tim Gunn, "Make it work."  

 

 

Previous Posts in the series WANTED Better Display:
Your Display is An Invitation To Walk Into Your Booth or Walk Right By BYE

WANTED Better Displays - Display Offender #1 Black Drape Booths

WANTED Better Display - Display Offender #2: Not Enough Lights

WANTED Better Display - Offender #3 TOO MUCH STUFF On Display

WANTED Better Display - Offender #4 Purchased Racks & Props

WANTED Better Display - Offender # 5 Inconsistent Display Materials

WANTED Better Display - Offender # 6 Pathetic Aesthetic



WANTED Better Display - Offender # 6 Pathetic Aesthetic

WANTED-BETTER-DISPLAY-Purchased-Pathetic-4-5-6
The past two display offenders,  "Purchased Racks & Props" and "Inconsistent Display Materials" often travel with "Pathetic Aesthetic" to art and craft shows.


PATHETIC-AESTHETIC-LETTERINGExamining the situation closely, I'd say that "Inconsistent Display Materials" and "Purchased Racks and Props" are at least partially responsible for the mismatched, incoherent booth display offender that this post will label as "Pathetic Aesthetic." 

 


WANTED-BETTER-DISPLAY-pATHETIC-AESTHETICFor maximum impact the aesthetic of your booth display needs to align with your art/craft, absolutely 100%
 down to the last detail.  If every single booth assembly decision contributes toward this goal, the better your booth display and the more effective your booth display will be in attracting your customers.

The booth needs to be like a powerful magnetic field. It needs to attract an audience from 50, even 100 feet away.  Before your customer even enters your booth, your booth display has started "selling" your work.



Another issue is that "Pathetic Aesthetic" will be confusing to your customer.
 If they walk into your booth, and the display is not consistent with the work for sale, it is unlikely that they will fully engage with you or your work. 

Do you think that I am too critical of "Pathetic Aesthetic?"  Perhaps, but your non-customers are being even more critical when they walk right past your booth. They are too busy, too tired, or too uninterested, especially if they see a more interesting booth on down the path.   

So here it is ....your booth display has two jobs.....

Attract the customer into the booth......

Then keep the customer in the booth.... until they talk to the artist maker, look at the work for sale, and maybe even buy or at least pick up a card for a later online purchase.

What are the components of  a consistent aesthetic in your booth display?
It could be a decision about color, texture, motif, background drape, display props & displays, your floor, your cases, even your sign, the way you are dressed. Everything counts.


ACC Show 2013-electric-green-displayColor is a key indicator of aesthetic. In the image below from  Jillian Moore at the 2013 ACC San Francisco. The  Lime Green wall says trend, young and irreverent. Every color is acceptable....but they all send a message.

Colors do affect purchasesColor is specific to a demographic consumer audience and type of purchasing. There is so much information about the science of color.  I'd recommend considering your color choice to fit your audience. A quick study online can find lots of information including "10 Colors That Increase Sales, and Why." 

 
Texture can also be an aesthetic choice. As one example that I have seen on many occasions, Japanese Rice paper says "low key, subdued" aesthetic.

Fobots-display-chalkboard-sign-aesthetic

Looking for a motif for your booth might come from your work as in this example by Fobots. Funky chalk board paint with  hand drawn characters in white chalk have the same whimsy as the Fobots made from repurposed materials.

 

Fobots-black-drape


Background drapes should be background
 without distracting from the items on display. In the left photo, Fobots has a curtain that looked totally consistent with the booth aesthetic. I thought they must have even hand drawn on the fabric themselves.

Be cautious about a dark colored background. Dark colors to black drape need a tremendous amount of light to be a successful display, so consider lighting before taking this option.

 

 


Commercial-display-prop-finger-ringsDisplay props and racks often send a very "commercial" retail message.
"Purchased display props of any kind are synonymous with mall-style mass merchandising -- i.e. the wrong message in a craft booth about "handmade."  

Jonathan-spoons-lights-every-spoon-wood-displayCan you think about how to make your own display?
Can you make your own display from your medium?  Jonathan Spoons made their display entirely from burnt wood like their signature Niche Award winning spoon . They made their entire booth from wood, the same medium they use for all their spoons and utensils. Consistency created a strong aesthetic in the booth display.


Floor-white-tile-emiko-oyeFlooring in your booth such as tile or carpeting can create more of a defined space. It is kind of like crossing a threshold of graciousness into a space or environment, but it also becomes part of the aesthetic of your booth. In the photo left from emiko oye's booth at ACC San Francisco 2015, the raised dots in the floor tile echo the raised dots in the Legos she uses for her jewelry. Walking up to her display at ACC was a knock your socks off eye-catching experience.

 

Carpeting-grey-rentalIn contrast, the grey rental carpeting  (left) that I saw in several booths was not doing it's job. It was not creating an aesthetic experience nor the effect of a special room. This image looks like a super boring picture doesn't it. Well it didn't look any better in person. Skip the grey rental carpet.  


Your booth sign and personal attire are two more considerations for creating a complete aesthetic experience in your booth.
These are topics for future posts.

Previous Posts in the series WANTED Better Display:

Your Display is An Invitation To Walk Into Your Booth or Walk Right By BYE 

WANTED Better Displays - Display Offender #1 Black Drape Booths   

 

WANTED Better Display - Display Offender #2: Not Enough Lights


WANTED Better Display - Offender #3 TOO MUCH STUFF On Display


WANTED Better Display - Offender #4 Purchased Racks & Props

 

 WANTED Better Display - Offender # 5 Inconsistent Display Materials

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WANTED Better Display - Offender # 5 Inconsistent Display Materials

A close cousin to the previous Display Offender #4, "Purchased Racks and Props", is "Inconsistent Display Materials." These offenders have the same DNA and often work together to rob booth displays of potential customers. 

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David-Giuletti-booth-profileAt ACC San Francisco, I saw several booths with as many as 13 different display materials in one case or display. Rarely did I say anything to these display victims.

However the interaction with David Giuletti was different perhaps because we met at the Holiday Metal Arts Guild party last year. We entered into a conversation about display. David Giuletti said that "his booth was a work in progress." He wanted to hear what I had to say to improve his booth display for next time, and he bravely said I could use images of his cases in a post. 

Below are two  photos of his jewelry cases taken with my phone. These are not professional quality photos, but clearly show a number of examples of "inconsistent display materials." 

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Between this photo (above) and the next photo (below) I count the following materials:

  1. A whitish background lining the bottom of the case (not sure if it is paper or fabric;)
  2. Brown textured leather;
  3. A light colored wooded block (similar in color to the brown leather;)
  4. Dark brown wooden blocks in three different sizes and thicknesses;
  5. Off white textured leather in two different sizes;
  6. Purchased acrylic ring stands;
  7. Dark brown leatherette (?) rolled ring stand;
  8. A lighter colored wood block laying down with wide grain;
  9. Different grained wood block standing up with tight grain;
  10. White fabric drape (?) for the back and sides of the booth;
  11. White signs were a different color white from the back drape.

Layout in the cases is an additional problem.  The inconsistent layout of the earrings and the chains lack organization. 

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David Giuletti is a skilled engraver and metalworker. You only have to look at his work for a few minutes to see that quality -- but his display is lacking.  Unfortunately, I doubt that most customers will give the work in his cases that much time. They are going to walk right by because his booth display did not convey quality.

And though this post only featured David's inconsistent display, there were many other Offenders #5 at ACC San Francisco that had "Inconsistent Display Materials."  Examples (not shown) included:

  • Postcards used in the display (postcards are not display materials;)
  • Mismatched paper in different colors and textures;
  • Mismatched purchased display props that were not the same color;
  • Different color tablecloths (that had no relationship to the booth display colors;)
  • Mismatched signs.

To avoid display Offender #5, all the materials of your display props, display cases, drapes, and photos need to echo each other in both texture, color, materials, and aesthetic. The aesthetic aspect can be a matter of taste appropriate to your work but considering that you have one small booth, repeat this mantra "less is more." The fewer distractions from your work the better.

Below are some examples where the seller's display made an effort to provide consistency and coherent theme within the booth.

Davide Bigazzi used the same textured metal inside of his cases as on the front panel.Davide-Bigazzi-display-materials-booth
(Left) Davide Bigazzi;                          (center image) Looking at the back of his case;           (Right)  Sheet metal front to his case. 

Consistent use of display material may take on different approaches depending on what you are selling. Since Ealish Wilson was selling fabric wall sculpture, pillows and scarves, she had a custom wallpaper printed with her own design. It went up on the solid walls rented for the booth, but it seems likely that you could have your own fabric drapes printed with digital technologies if you didn't have solid panel backdrop.   Ealish-Wilson-wallpaper-backdrop copyThe image to the left is a portion of her booth.  The right half is a close-up of the wall paper. I am pulling back the edge of the paper so I could see that it was just like a big sheet of contact paper. (Ealish Wilson told me, " You have to be careful but you can indeed get it [the contact paper] back onto the backing paper to reuse it, because it's basically paper backed fabric it's more durable than paper ." )  Note how she used the contact paper/fabric to even conceal the seams in the rented wall panels. 

In another booth, Beverly Tadeu's display theme might be described as translucent white. She carries this theme through at many levels. Notice the white translucent scrim in front of her tables.
Beverly-Tadeu-booth-display
Her display props include translucent frosted acrylic on layers of white translucent paper and plastic.  In the photo below she pulled back the layers so I could see how she layered her table coverings. Beverly-Tadeu-translucent-layers

As shown (below) every display prop was frosted acrylic providing consistent theme to the display. This level of consistency is less distracting and helps the viewer pay more attention to the jewelry for sale.
Beverly-tadeu-acrylic-blocks
There are a few more details that I would like to point out because details are what creates the impression of a well thought out display. Every nuance sends the message to the consumer that the work is as well designed as the display. First the color of the drape matches closely the background of her photos. Note also the necklace on the right "panel" and the elevated bracelet for high visibility to the customer walking in the aisle.  Maybe they will stop to look. 
Beverly-Tadeu-sign
Beverly-Tadeu-white-chairBeverly even had a white chair. Yes your chair counts. Another color and the chair is a distraction. You definitely don't want your chair to take anything away from what your are selling. And what your booth display is selling is more than just a piece of jewelry, a jacket or a vase. It is selling a premium experience.

Since Tadeu's booth focused on white translucency, she had no place to hide her clutter.  I loved her invisible solution which she is willing to share with ASK Harriete readers. Shhhh.....

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Don't tell! Behind the photographic panel, cutting across the corner of her booth, Tadeu hid her clutter with a panel of fabric.

Clutter is our next Display Offender #6.

Previous Posts in the series WANTED Better Display:

Your Display is An Invitation To Walk Into Your Booth or Walk Right By BYE 

WANTED Better Displays - Display Offender #1 Black Drape Booths

WANTED Better Display - Display Offender #2: Not Enough Lights

WANTED Better Display - Offender #3 TOO MUCH STUFF On Display

WANTED Better Display - Offender #4 Purchased Racks & Props

 

 

Wanted-Better-Display-5-inconsistent-series
 

 


WANTED Better Display - Offender #4 Purchased Racks & Props

WANTED-BETTER-DISPLAY4-display-props

The use of commercial display racks and props just seems inconsistent in a craft show. Purchased display props of any kind are synonymous with mall-style mass merchandising -- i.e. the wrong message in a craft booth about "handmade."  Every aspect of your booth should resonate that what you are selling represents custom design, artist fabricated, and sold by one maker.  The entire booth design and aesthetic is supposed to reflect YOU as a unique, special, amazing artist/ maker....   So why, oh why would an average, off the shelf, mediocre display unit from a catalog occupy your booth?   

For me, this is an issue with no compromise.  Perhaps I should be more sympathetic for the use of commercial displays.  Perhaps people are sold the idea that they are professional or neutral solutions, but to me it sends a message that you're not quite a confident, unique artist/maker. Don't you understand who you really are and what you are selling? It makes me grimace and grind my teeth!!!!!!!


Don't-use-White-display-propJewelry is a common victim of this display offender.
It's taking a plain vanilla display prop as if from a commercial jewelry store, and using it to display your artist-made jewelry.  At a craft show, at that special moment of interacting with potential buyers, you are trying to differentiate your limited production or one of a kind jewelry from the local jewelry store.  So what is signaled by an average, banal display prop purchased from a catalog?

Don't-use-commercial-finger-rings

Wrong message.  Sure these are all fine for a jewelry store or consignment shop, not for artist-made craft. 

 

 

 

 


Garment-district-with-chrome-rack

An equal opportunity display offender is commercial chrome clothing racks. These are too similar to the utilitarian clothing racks used in the garment district to wheel around mass manufactured clothing on the street. 

 

Bed-bath-chrome-display-rack

A purchased clothing rack sends the wrong message to the customer. Serviceable for working in your studio, but if you can buy that display rack at Bed, Bath and Beyond, it won't say my clothing is special for a craft show display booth.


Don't-use-grid-display-for-boothsThese were just a few examples. Craft shows too often exhibit many other display offenders including grids that clip together, or other "pop up" mechanisms.  A good rule of thumb is, If the display is purchased from a commercial catalog, don't buy it.   With a little effort, artists and craft persons should be able to "make" a display that attracts the eye and says "think different." 

Since, I did not take pictures of display offenders, let's look at a few successful display solutions for jewelry and clothing.


Frosted-acrylic-block-Beverly-TadaeuSimplicity without clutter is the current trend for the best art jewelry display Beverly Tadeu grouped work on frosted acrylic. Prices were written nearby. (More on her booth display in a later post.) 

 

 

Custom-display-Julia-TurnerJulia Turner created some height for her jewelry display with custom stands to hang necklaces and pendants.

For more valuable items she covered them with a clear acrylic vitrine to avoid commercial jewelry cases.

Her display was open and well lit.  White drapes looked elegant and clean -- consistent with her work. 

 

 


Simple-display-Emiko-oyeemiko oye grouped work by color. Variable height created a more interesting display. Only one of each piece is on display Extra inventory is contained within the chest of drawers seen in the upper left corner.

 

 

Paper-layout-melissa-finelliMelissa Finelli created a layout on plain brown paper. The drawing helped her keep track of whether jewelry had been picked up by the customer.



For clothing, I would like to feature the booth display by Amy Nguyen (shown below.)
Display of artist made clothing by Amy Nguyen uses a custom designed display.

 The booth had a custom hanging system using black pipe across the top of the pipe and drape.  

Amy-Nguyen-custom-clothing-displayFrom the top bar she used wire and chain running through black tubes for a straight, linear appearance. They told me the slim lengthwise black pipe was re-purposed from "abstracta cases", but I think you could consider black plastic irrigation tubing or other less expensive options created yourself. 

Notice also that the black tubing is different lengths which creates another level of dynamic interest. Long garments can hang higher. Short garments can hang from longer tubes. 

All the hangers match, and they even seem to have a longer "stylized" hook at the top of each hanger. This is just another small detail that says "I am special."

IN SUMMARY: 
Every detail of your booth display counts toward the overall impression for the customer. Every artistic nuance of a designer's eye invested in your booth sends a subliminal message to your customer. This work is very special. Buy me.

  

Previous Posts in the series WANTED Better Display:

Your Display is An Invitation To Walk Into Your Booth or Walk Right By BYE 

WANTED Better Displays - Display Offender #1 Black Drape Booths

WANTED Better Display - Display Offender #2: Not Enough Lights

WANTED Better Display - Offender #3 TOO MUCH STUFF On Display

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WANTED Better Display - Offender #3 TOO MUCH STUFF On Display

WANTED-BETTER-DISPLAY3-stuff
TOO MUCH STUFF! Yeah, wwaaayyy too much stuff on display is a visual offense. A real downer . . . especially to see multiples of the same thing on display.

This is just wrong at a craft show, . . .  but not at the mall. Why?

You know why.

At a craft show the audience is looking for what YOU have made, i.e. "handmade." While many items for sale may not be one of a kind, they certainly are not manufactured by the 1,000's or millions. People are coming to buy directly from the artists or makers who have created work that reflect the unique abilities of one maker, not a corporation.

At the ACC show I walked past one booth with 30 identical pendents hanging from a display on top of their display case.  What in the world is the point of that? The illusion of buying one of a kind or limited production vanishes on the spot. 

Multiples of the same item send the wrong message. It doesn't say artist-made, hand-made, or limited-production. It doesn't even say special.

Since a craft booth is maintained by the maker, if a pendent is purchased, you can replenish your display from inventory in a few minutes. This is not Macy's selling 100's of the same thing. 

Only one of an item should be displayed

The same principle goes with displaying too much inventory, over all. There were a few booth displays that had so much inventory on display it was overwhelming. Quoting one attendee: "There were a few booths I didn't go into because I couldn't deal with feeling overwhelmed. It is hard enough to go to the show and look at so much work, but if a booth felt  crowded, I couldn't deal with the quantity of merchandise."  

I did not take photos of the "TOO MUCH STUFF" offender booths to avoid embarrassment, but in contrast, here is a prime example of a selective and thoughtfully presented display. 

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Among many booths with artist clothing, the display in the booth of  Amy Nguyen 
was my favorite.  Notice how carefully the jackets are organized by color. Each jacket hangs evenly spaced so there is room to look without even touching. The large photo in the corner frames the jackets with the glace of the eyes toward the clothing.

The clothing designer did not put out too much merchandise. It  might not surprise you that this was a deliberate decision on her part.

clothing  by Amy Nguyen on display at ACC San FranciscoWhen I admired their booth and asked if I could take a picture because I loved their display, my comment opened an entire conversation about how careful they were not to let their display get too crowded. They understood that their work was special and they wanted the display to convey that message.

They also had plenty of light directed on the jackets (which was the topic of the previous post).

Before concluding this post, notice also that the booth for Amy Nguyen did not use any commercial clothing racks.  This leads us to our next Display Offender #4 Commercial Display Racks & Purchased Display. 
Clothing-display-Amy-Nguyen

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Previous Posts in the series WANTED Better Display:

Your Display is An Invitation To Walk Into Your Booth or Walk Right By BYE 

WANTED Better Displays - Display Offender #1 Black Drape Booths

WANTED Better Display - Display Offender #2: Not Enough Lights

 


WANTED Better Display - Display Offender #2: Not Enough Lights

WANTED-BETTER-DISPLAY-2-lights
The #2 Display Offender -- Not Enough Lights.
 These days there is no excuse for this display offender. The options for energy efficient LEDs and low heat lighting are expanding. 

The positive impact of effective lighting in your booth can be remarkable and rewarding. Yet during my visit to the ACC show, there were many booths with inadequate lights. And when inadequate lights combine with black drapes (as mentioned in the previous post), the effect was devastating. (I did not take pictures of the victim booths with poor lighting.) 

Look at any department store display and you will see that the merchandise is brilliantly lit using different kinds of lighting. Effective lighting can include both general lighting and spots.

If you think my insistance for effective lighting is expecting too much, consider the fact that consumers are accustomed to the best quality merchandising every time they go to the local mall. Lighting can even become a signature element of some high end shopping venues or restaurant dining. Poor quality overhead lighting correlates to bargain clothing shops and fast food. 

Aelish-Wilson-spot-lightsLighting that highlights your work on a wall attracts the customer into the booth. In the photo (left) Aelish Wilson used spots to light both her name and the fabric art on the wall.

 

 

 

Fobots-individual-cubbiesFobots by Amy Flynn integrated lighting into each recess of her display. This is very similar to how high end designer handbags has lighting installed (but concealed) in the store display.

 

Fobots-display-cubbies-with-lightingFobots (Found Object Robots) display also functions as a multi-purpose traveling case for storage that fits right into her van. 

 

 

Emiko-oye-lightbulbsLighting can also be an effective accent as in this photo (left) from a previous post from 2013 Display Ideas Remarkably Effective . Here emiko oye used hanging colored lightbulbs in her booth display to catch the eye. These lightbulbs are not providing lumens but do catch the eye of visitors encouraging the curious to look in further.  

 

 

 

Jonathan-Spoons-custom-lighing

In other examples of superb lighting at ACC 2015, Jonathan Spoons took commercial lighting and modified the arms to match his booth aesthetic, lighting every utensil in the front of his booth. (Spoonwood, Inc. also won the ACC San Francisco Booth Award.) This demonstrated that expensive lighting fixtures aren't necessary, but savvy planning and preparation can win the day. Jonathan-spoons-lights-every-wooden spoon


Lim-table-lampIn her booth, Valerie Mitchell showed me an exquisite LED light fixture she arranged to highlight her jewelry laying on the table.

The Lumina light fixture (left ) has an arm that can swivel, rotating on it's minimalist stand. An additional arm can be added to the other side. (This is the light manufacture's photo but if I get an image from Valerie Mitchell I will add it to this post.)  

 

 

Lim-c-under-surface-table-lampThis light is also available as a counter mounted version. "The “L” shaped arm discreetly conceals an array of high-output LEDs with two intensity level settings, and it utilizes a magnetic attachment system for effortless adjustment."

I only showed this light as an example. It may not fit the aesthetic of your booth, but I loved the minimalist design that does not distract from the work. Great lighting can truly enhance your display.

One final point regarding booth lighting is to be sure that your lights do not shine into your customers eyes. I noticed that several booths had poorly positioned overhead lighting and case lighting that was literally a blinding light and very unpleasant shopping experience.

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Previous Posts in the series WANTED Better Display:

Your Display is An Invitation To Walk Into Your Booth or Walk Right By BYE 

WANTED Better Displays - Display Offender #1 Black Drape Booths


WANTED Better Displays - Display Offender #1 Black Drape Booths

WANTED-BETTER-DISPLAY-1-black-drape
Retailing is a highly competitive market -- especially at a craft show. Not only are you competing with every other seller at the show, but also all the other demands on the customer's pocket, i.e. rent, tonight's dinner, or this summer's vacation. They don't NEED what you are selling.

I'd go so far as to say that most craft show attendees intend to only come & look. The craft show is entertainment and they are not committed to buying anything -- unless something really stands out and strikes their fancy.

This is where your booth design and display plays a pivotal role in the consumer's purchase. As mentioned in the previous post your booth is the first thing that people see.  If you think of selling as a step by step process, your display is the bases of their first decision whether they will look more  deeply at your art/craft. You can't sell anything unless the potential  buyer diverts from "just looking" and chooses to walk into your booth.


ACC-black-drape-like-caveAfter spending hours at ACC in San Francisco, I observed that the most fatal display offender was the foreboding dark black booths drapes.  Black pipe and drape is the funeral parlor "valley of death" for a craft show display. It is the Darth Vader of "dark side" display offenders. Black drapes suck the life out of even the most colorful craft. Black drapes behind beautiful black jackets are retail flat liners.

There is no pardon for black drapes. It is not sophisticated. On the contrary it was depressing. Of all the booths at ACC, their was one booth with black drape that was O.K. because the light colored wood furniture booth stood out with great lighting and the booth was at  least double wide (avoiding a dark cramped feeling.) 

Every other booth with black drapes looked like a cave.
The smaller the booth, the worse it felt. I am not exaggerating. Even though Fort Mason has fabulous ambient light with extensive sky lights, large windows and a high white ceiling, the black drape booths sucked the energy right out of the booth space and the craft work.  Fort-Mason-Windows

 

Booth-layout-narrow-gauntlet-over-commitmentThe claustrophobic affect of black drapes was worse if the booth layout had a narrow alley trapping the customer in a gauntlet of scary over-commitment.

 

 

Even brightly colored work could not resuscitate interest when so much black in a small booth extinguished the inadequate lighting.   

This leads us to the next "Display Offender #2 - Not Enough Lights" for tomorrow's post. 
P.S.No booths with black drapes were photographed at ACC San Francisco 2015 to protect the perpetrators of "the #1" display offenses. 


Your Display is An Invitation To Walk Into Your Booth or Walk Right By BYE

Recently, I went to the San Francisco ACC show with the express purpose of studying the booths and figuring out (if possible) what elements contribute to a successful booth.  I was curious if there was a way to diagnose what was a successful display and what was not effective in a craft show booth. Could a few simple principles be gleaned and generally applied? Alternatively, are there display issues to avoid? 

WP_20150802_030Granted, the difficulty of transporting and setting up a booth in a strange city can be a challenge, but most everyone is under the same time constraints for set up, needing effective, low cost booth designs, and the challenge of creating a booth display that is an appropriate aesthetic for their craft work.

Harriete-photographing-a-boothAfter spending several hours looking around and talking to many of the artists, I gathered lots of topics to discuss that are practically exploding out of my head.  There are numerous ideas that can be implemented successfully  and recognizable "display enemies" to avoid.

Several makers at the ACC show allowed me to take photos of their booths to share their great booth ideas. And one super brave individual was willing to let me take photos of his booth display problems. He knew his booth was a “work in progress.” Clearly his booth display did not reflect the quality of his work.

Over and over I saw problems in the display of craft work that could have been rectified on the spot, rearranged, or edited to better affect.  Just imagine if a "Tim Gunn" display professional gave a styling critique before the show opened improving display, retail sales and the quality of the show overall.  A few booth edits would have improved many displays to "Make it Work" much better.

craft show booth by Julia Turner at ACC san FranciscoA craft show display should be an invitation for the customers to walk into the booth. That is the crux of this series.

It is a terrible shame to see quality work in a booth display that clearly does not present the work favorably -- sometimes I even saw superb work with really poor display. That is the greatest shock.

Pipe and drape becomes a dull and repetitive craft show display structureIt breaks my heart to see the negative impact of a bad display diminish a maker’s chance for success, yet that is the impact of poorly designed retail display.  A poor display is is an excuse for potential customers to walk right past the booth.  

In contrast, a great display is a magnet attracting the customer into the booth. Engaging the viewer to look -- or even to buy your work.

This series of posts will discuss other issues regarding booth displays.  To keep it lively, Alison Antelman and I agreed to go to the ACC show separately and prepare our separate observations to debate and discuss what seemed to work well.

Stay tuned to this 2015 series on craft show displays starting with specific display enemies. 

WANTED-BETTER-DISPLAY1


The Posture of Craft - Learning to Stretch

Posture-of-Craft-Learning-Stretch

My first job out of college was doing jewelry repair. This experience made numerous lasting impressions on me, some not particularly positive. For one, I noticed that all the employees had a common trait -- bad posture. I mean really bad posture. A permanent hunched over posture due to constantly looking down at their work.

I began to notice that this trait was pervasive throughout hand media.  It was at every place that I worked at over the years. Bad posture, often combined with overweight from sitting and little exercise, seems like a chronic problem in all craft media.

CircuitTrainingClasslighterAt the age of 35, after having two children, I realized that exercise was essential to healthy living and creativity. It was a radical change in my thinking as up until then, I thought a dedicated artist didn't have to exercise.  Since then, regular exercise developed into an obsession. Along the way I've become a certified fitness instructor leading five exercise classes a week  and motivated to get my 10,000 steps a day.  

The-Chair-Rethinking-Culture-BodyPerhaps because of this background, any discussion about back pain catches my attention front and center. The issues surrounding prolonged sitting are finally surfacing in the news and awareness is growing in the general population. As surprising as it may seem, chairs and extended sitting are hard on your body. My concern is that this awareness has not permeated sufficiently into the craft community.

From hobbyist to professional, craft work may be exhausting as an activity, but it is not exercise, and it is having a negative impact on our bodies.  Sustained sitting is bad for our backs, knees, and hips and a better designed chair will not fix the problem. Exercise and stretching need to become as much a part of our daily routines as eating or sleeping if we want to be able to continue creating with a healthy mind and body.

Reset_Neck_Stretch_1.0_CoverThis is why I applaud the efforts of Raissa Bump to bring more awareness to this issue. She is advocating for stretching and movement within the studio with Reset. 

She has agreed to share one of her stretches for today's post.

"Use the following stretch to counterbalance and relieve strains caused by poor posture and general stress."

 

 

 

 

Reset_Neck_Stretch_1.0_Images_01

With both feet on the floor,

Sit comfortably either fully back in your chair or at its edge.


Put left hand under left sit bone,
palm down, fingertips pointing toward tailbone .

 

 

Reset_Neck_Stretch_1.0_Images_02

Reach straight up with right arm.

 

Inhale

 

 

 

Reset_Neck_Stretch_1.0_Images_03

Exhale.

Lean head to right.

Bend right elbow so fingertips are alongside jaw line. 
Keep lifting chest up as you allow your breath to flow along the side of your neck.

Stay here for a few breaths. 

 

Reset_Neck_Stretch_1.0_Images_04

Lower head down another couple of inches,

Take a few more breaths carefully moving into a new area of tightness in your neck.

Hold position for 3 – 5 breaths.

 

 

 

Reset_Neck_Stretch_1.0_Images_05

Release overhead arm.

Roll chin to chest.

Release the hand you are sitting on.

Leave head hanging.

Take a breath into neck and upper back.
Give yourself a self massage.

 

Reset_Neck_Stretch_1.0_Images_06

Place entire hand on forehead, inhale – lift head up

 

 

 

 

 

Reset_Neck_Stretch_1.0_thumb

Repeat neck stretch on the other side.

 

 

 

 

 

 

P.S. Join me for fitness at Belmont Planet Granite as my guest for one of my classes. Contact me by email in advance. 


Drought, Water, Grass, Art, and Personal Observations

GRASS-art-droughtOver 15 years ago, I watched a neighbor rip out the low maintenance landscaping in front of their house and put in a lawn instead.  I was shocked that their idea of a perfect front yard had to be a manicured green lawn.  The lawn-care industry had so deeply ingrained that idea through advertising as a staple of the domestic environment.

That incident provided inspiration for me to make a series of sculptures and a video about the environmental impact of grass lawns. blades of grass depicted the green grass lawn

Now here in California we are in the midst of a serious drought. For the first time people are realizing just how much water lawns consume and the environmental issues surrounding lawns that compete for our drinking water.  

Blades of grass as a sculpture

It has now become "the thing to do" for houses with grass in front to have parched looking lawns.

Blades
The water battles here in the west have a long history. With increasing population and agricultural demands, this problem isn't going away.  Removal of grass lawns is becoming the norm and more water-wise solutions are considered as permanent replacements.

Gainsborough-Painting-Mr-Mrs-Andrews with green lawn.

The modern lawn was inspired by the 18th century landscape architecture of grand estates in England on which nature and humans were perceived to peacefully coexist. The green lawn dependent on a mild, wet climate was transplanted to North America despite the harsher climates and diversity of vegetation beyond the American East Coast.   

Blades of grass art sculpture about the environmental impact of lawns.In America, we plant lawns in the deserts, forests, and prairie. We pour on chemicals, and emit tons of pollutants with mowers and blower equipment.

The grass \'gras\ video (below) shows the fabrication, assembly and meaning behind the lawn-size installation (9' x 9') with 32,400 blades of grass cut from post consumer tin cans.

View all the grass sculptures on my website.

The installation travels in 19 boxes. 


Control Your Prices and Avoid Price Comparisons With Your Gallery

In response to the previous post, Emily Johnson left a comment that deserves further attention. You are welcome to leave your comments as well, . . . but let's start with her questions.

Emily-Johnson-Soli-14k-ring
"Hi Harriete!
I've been moving to sell more online myself, my galleries are doing it, so why shouldn't I?"

"Locally my work sells at double wholesale. However, most of my out of state galleries do a 2.25, sometimes 2.5 markup on my work. I think that's too high." 

"What is everyone's opinion on how to keep my prices consistent? Do I raise my prices to 2.25 to keep consistent, or do I ask my galleries to stick with 2 x markup? Knowing full well that they may not be too happy about that....."

Pat-Flynn-prices-on-internet-phoneEmily's questions bring up several issues that I was thinking about when composing the previous postThe point of the previous post was that the transparency and ease of price comparisons facilitated by the internet also creates an opportunity for artists and makers to control the price point for their work.  Expanding on Emily's thoughts, I also think that some new approaches to price management with more strategic thinking are in order.
 

 

 

 

Let's Break Down the ISSUES.
What is the impact when galleries calculate their retail price at 2.25x or 2.50x the wholesale price while the artist/maker continues to maintain a lower retail price at twice wholesale? 

  • The galleries may be frustrated that artists are selling at a lower price.
  • The galleries may consider that their retailing expenses justify a higher price point.
  • If artists/makers are retailing work independent of the galleries, maybe artist/makers are not fully accounting for their retailing expenses. Have you thought about how much it costs you to stand at a retail show, or list your work online? 
  • If the galleries think the work can sell at a higher price point, why do you think that a 2.25 /2.5 markup is too high?
  • Does a lower price lead to higher sales volume and more profit?  Do you have evidence that more work will sell at a 2.0 markup? Is selling more work at a lower price your objective? 
  • What would be the impact on your bottom line if the gallery decided not to sell your work any longer because they didn't want to compete with your lower price point?


The future of selling:
While not every artist and maker sells directly online, it is definitely a growing trend. While craft shows continue a slow decline and brick & mortar locations struggle to maintain market share, the alternatives for selling online continue to expand and the barrier to entry is low. 


The impact of selling online:
Posted prices are expected online  -- and price comparisons are easily obtained within minutes. 

Work on consignment is owned by the artist:
If the work is on consignment, I think artist should be able to dictate the retail price. You own the work, not the gallery.  An artist/ maker can definitely specify a recommended retail price (which should be at least double wholesale to cover your retailing expenses).   

Thinking strategically, here are other options:

Option 1.
Ask the consignment gallery to purchase your work outright (at your wholesale price) and they can mark up as much as they like when they own the work.  You can also offer to stop selling the same work from your website or any other online marketplace in exchange for a minimum sales volume within a specified time frame. (See below for more on this point.)     

Option 2.
Change the wholesale approach altogether.   To avoid a direct price comparison between you and your gallery, sell a specific line of work at the gallery and sell a different series on your website.

Stores do this all the time. I discovered this marketing approach recently when shopping for carpet. After going to five different carpet stores I realized that all the stores sell well known brand names like "StainMaster" but the names for the same carpet grades and styles are different at each store.  It was impossible for me (the consumer) to make a side by side comparison on price or quality even for the same brand name. Comparing carpet from different carpet companies was equally impossible and completely overwhelming.

Artists could adopt a similar strategy to avoid the appearance of direct price competition with their galleries.  Galleries can sell a particular group of work and the artist can grant an exclusive on that style to eliminate side by side price point comparisons. Another approach is to simply change the name of the work or the series on your website, so it is harder for the consumer to make a side by side comparison.  This tactic is what carpeting and mattress companies depend on for their marketing and pricing strategies.

Option 3.
Think about prices and value more strategically. The idea of selling to a small local market is quickly vaporizing. The world is your market.  Every person is now competing with everyone else (including imported jewelry marketed as "handmade" and lifestyle purchases like a new phone). How can you create a perception of value for your work that has less to do with price?  To compete your work must standout and be unique.  Average is very hard to sell in a global marketplace. Define your market more specifically and help buyers choose your work based on factors beyond low prices alone. 


IN SUMMARY:

  • Rethink how to manage the marketing and pricing of your work.  
  • Consider selling different work at different venues (e.g. galleries and online). 
  • Avoid obvious comparisons between your website and your gallery prices. 
  • Market your work beyond local.  
  • Be more assertive in managing the prices of consignment work. 

 

Related Posts:

Pricing and the Impact of the WEB: To post prices or to not post prices??

She Sells Wholesale. She Sells Retail. Is She Selling Wholesale at Retail?

Commission Structures with Galleries - Are they negotiable?

Surviving an I.R.S. audit - What Is Included in the Cost of Finished Good besides your best guess?

The Value of Your Work is NOT the Price of Your Work

Pricing Your Work - The Ultimate Variable in SELLING YOUR WORK has no numbers! What the Market Will Bear


Pricing and the Impact of the WEB: To post prices or to not post prices??

To post prices or to not post prices??

The debate about posting prices for art or craft on the web has raged on for years. One faction advocates that no posted price encourages customers to contact the artist or gallery.  A different faction rationalizes that most potential buyers will be discouraged if such basic information is not readily available.  Read on for my opinion on this issue...

Pat-Flynn-prices-on-internet-phoneI've been wondering... with the ease of comparing prices right in the palm of your hand.... what is the impact on the arts and craft market? Can you vary your asking (retail) price in different market niches?  

My experience in a recent eBay auction has helped gel my opinion.

 

 

Pat-Flynn-ebay

It all started when my sister found a Pat Flynn bracelet on eBay for a minimum bid of $650. We both recognized this as a great deal.  

Pat-Flynn-WebsiteWhile Pat Flynn has no prices on his web site, it didn't take much detective work to find this production bracelet #9 available at multiple locations, galleries, stores and online marketplaces with the retail price of $1,680. 


Since I was able to verify the retail price, the eBay $650 starting bid would be a fantastic price for a Pat Flynn bracelet. Would it sell for $650?  With 24 hours before the deadline, there were no bidders.

OBSERVATION #1
Pat-Flynn-HamiltonHill
It is easy to compare prices on-line from different venues even for art jewelry with a limited production. 

 

 

OBSERVATION #2
Pat-Flynn-Sam-Shaw-GalleryAs every brick and mortar retailer moves to online sales for survival, prices online will be expected, just like in the store. Everyone expects the price to be listed even for art & craft. No posted price indicates that the item is not for sale or it is already sold. The days of "price available upon request" is truly only for the most rarefied, truly one of a kind, and very high end (i.e. if you have to ask, you can't afford it).

 

THE eBay BIDDING 24 HOURS LATER... 
Pat-Flynn-final-bids-2
The next day as the bidding deadline was getting closer.....I followed it closely.  As I had discovered already, any potential bidder could easily find price comparisons to verify the retail value of the bracelet.  In the last two hours, the bidding rapidly accelerated. 

 

OBSERVATION #3
Pat-Flynn-Quadrum
Listing your prices on-line establishes value.  In this example, there was ample evidence that the asking price for a Pat Flynn bracelet was $1,680 at several different locations across the U.S., so any price below that would be a bargain. 

 

THE eBay BIDDING CLOSED
Pat-Flynn-final-bids3The bidding ended significantly closer to retail....though not quite full retail. Someone still got a great deal at $1,031 -- saving $100's off the full retail price elsewhere. I think if the eBay listing had a better photo, they would have had more bidders earlier on, but still an exciting frantic finish.

 

OBSERVATION #4
Pat-Flynn-website-9-stone-nail-BraceletPut your maker's mark clearly on your work. Pat Flynn's work is clearly identifiable not just with his signature style and materials, but because of his maker's mark in gold on the inside of every bracelet. Even for a person with little knowledge of art jewelry market they know this is by Pat Flynn. 

 

Pat-Flynn-ebay-cuObviously, the photo on e-bay was terrible (left) and the description of the Pat Flynn bracelet was unsophisticated and even incomplete.  Still they had his name in the description on eBay which brought bidders.  Your maker's mark, signature or stamp is important to establishing the value of your work.

OBSERVATION #5
With limited or no established secondary market for art jewelry and craft the possibilities of bargains on eBay will be more commonplace. People selling items from an estate will turn to eBay as online continues to expand. The potential for a discovery is there. 

FINAL THOUGHTS:
A variation on the debate about posting prices is whether pricing can or should vary in different markets. Artists and makers have often commented, "I can't sell my work for that price in my own hometown.  Shouldn't my work sell at a lower price at a local store and at a higher price in the big city galleries?"  In response, my professional recommendation is and has always been that work has to be the same price everywhere. 

Especially with price comparisons so easy on the Internet, prices need to be consistent everywhere.  This is most important where the customer can compare identical items. Price comparisons are inevitable.

And most important, artists and makers need to price their work at full retail on their website so as not to confuse their customers or undercut their galleries/stores/online markets. The on-line posted price establishes value.

THE FUTURE:
The new reality is that artists may have more control of the retail price.  
As pricing visibility on-line becomes the status quo there may be beneficial consequences for artists and makers. Quickly fading are the days that brick and mortar locations could add another 10% or 20% to retail figuring no one will notice. 

Retail prices are now viewed with the transparency of the web and the convenience of a smart phone. Price comparisons are only a search away in the palm of your customer's hand. Variations in price are immediately discovered and compared against similar to identical items. Control of your recommended retail price is now the artist's decision more than ever before.

Take the power and the responsibility of controlling the value of your work. 

Establish a recommended retail price consistent for all situations and establish the value of your work. 

 

Guide to images found online:
Pat-Flynn-HamiltonHill-cuHamiltonHill
SPRINKLE NAIL BRACELET
Nail Bracelet by Pat Flynn made with black iron and 18 karat yellow gold hinge featuring nine small diamonds in palladium settings.Price: $1,680.00 

Pat-Flynn-QuadrumQuadrum
Nine Diamond Nail Bracelet
Pat Flynn

This Pat Flynn nail bracelet is hand forged from iron and finished with an 18K yellow gold clasp. There are nine diamonds set in 18K palladium bezels that are scattered throughout the bracelet adding an element of surprise and just the right amount of sparkle. Wear this edgy hinged bracelet solo or stacked into your everyday collection. This is a truly unique collector's piece. Look to the interior for a stamped and artist signed 18K yellow gold plate!

Since each item is handmade, slight variations may occur.


$1,680.00

 


An Astounding Jewelry Discovery

One year ago the Professional Development Seminar for the 2014 SNAG Conference focused on the importance of documenting your work, Inventory Records: Documentation and Provenance along with your maker's mark. History can have a short memory and recently this was brought to my attention in a very surprising and astounding jewelry discovery!

In 2006 my parents bought this wonderful necklace and earrings for me!
Caroline-Broadhead-Nuala-Jamison-Necklace-Earrings
My parents knew I would like the colorful necklace and big earrings -- just my style. In addition, I collect vintage acrylic jewelry and lamps so they knew they had found something that would fit my tastes perfectly.   For the past nine years, the only thing that I knew about the necklace and earrings was that my parents bought it in Florida at some antique or consignment shop.

Fast forward to the recent 2015 SNAG Conference in Boston.  On the final night I decided to wear the necklace and earrings for the evening activities. As you can imagine, many people wear fantastic jewelry to a finale event for the Society of North American Goldsmiths. 

It was then that my friend Marjorie Schick identified the necklace as the work of Caroline Broadhead (one of my jewelry & installation heroes).  I was stunned. I had no idea.  Marjorie recalled that in the 1980's Broadhead set up a business in London with Nuala Jamison "making buttons and acrylic jewelry for Jean Muir and other dress designers." 

Caroline-Broadhead-Nuala-Jamison-Earrings-1

Marjorie and I immediately looked carefully at the necklace and earrings in better light but found no maker marks.  We went to a computer to research further and promptly found these similar earrings (left) from the Crafts Council Collection Online with attribution to Nuala Jamison and Caroline Broadhead for C&N Buttons & Jewellery Production circa 1992. 

Caroline-Broadhead-Nuala-Jamison-VZ-cu2Further research also discovered this necklace by Nuala Jamison and Caroline Broadhead at a Von Zezcchwitz auction in 2009.

Caroline-Broadhead-Nuala-Jamison-Von-Zezschwitz

How did Marjorie Schick know all of this information? I've worn the necklace at several other SNAG conferences and no one said anything before. Marjorie glowed with enthusiasm as she recounted her experience.  She said, "I made trips to the UK and Holland, etc. during the 1980's and spent at least two sabbaticals and a summer in London so I was meeting a lot of people AND buying a few pieces.  I enrolled at the Sir John Cass Faculty of Art, Architecture and Design and later was artist-in-residence there as well as at Middlesex University and both schools provided the opportunity to meet more artists.  I love that time period when the “New Jewelry” was happening and feel that I am fairly knowledgeable about it --- having lived it and having been a part of it." 

This has been an exciting discovery. I've been bursting to share this jewelry tale. To think that I own a necklace and earrings by Caroline Broadhead is just wonderful. I have always loved wearing this jewelry, but now appreciate it with more insight and knowledge. 

Lessons learned for everyone:

  • Put your maker mark on all your work, some how, some way, so that your jewelry can tell a story even if you aren't there.
  • Be on the look out for fabulous necklaces by your jewelry hero. Some day you may find an example at a flea market on the ground (like this story about a Calder necklace) or at a consignment shop.
  • Trust your instincts and buy fabulous jewelry for $15, $50, or if you can afford it, $5,000. Don't wait. Your eye for jewelry may be a discovery.  
  • Wear your jewelry.
  • Be knowledgeable about your fields of interest. 
  • Conferences can offer wonderful surprises (keep this in mind when wondering if it is worth going).
  • Speak with your own voice with everything you make.  

Sculpture-to-Wear-Marjorie-SchickSculpture to Wear: The Jewelry of Marjorie Schick

This is a fabulous book about jewelry as sculpture you won't see any where else. Beautiful photos, and a complete Oeuvre Catalog clearly demonstrates the vision of this unique maker Marjorie Schick. Essay by Tacey Rosolowski.

If you love color or jewelry then this book is a must! Ask your library to add it to their collection. Marjorie does not have a website and only a fraction of her work is on the web. 


Learn to keep Inventory Records: Documentation and Provenance of your work.

InventoryRecordFORM
MORE POSTS about Inventory Records: Documentation and Provenance can be found here.

TAKE A MOMENT to study the jewelry and installations of Caroline Broadhead.

Caroline-Broadhead-Jewelry-In-StudioCaroline-Broadhead-Portfolio-Collection


Volunteer to Make a Difference

Pin Volunteering Recognition AwardJust last week I received an award at the annual SNAG Conference in Boston, SNAG's first ever Volunteer Recognition Award. The SNAG Board says that the award acknowledges my many volunteer efforts over the years such as the Professional Development Seminars, the Professional Guidelines, and numerous other activities. 

Side view of pin from Society of North American Goldsmiths for the Volunteer Recognition Award

Receiving an award was quite gratifying, and even emotional. The introduction by Brigitte Martin and Andy Cooperman brought tears to my eyes. But I never did the volunteer work expecting an award -- I simply volunteered to help because I believe that any person can make a difference.   

 Going one step further, I also believe that each person in a community has a responsibility to make a contribution.

 

Harriete-SNAG-Volunteer-Recognition-AwardI understand that these are busy times and it seems impossible to find time for volunteering. I don't have time for volunteering either.  Yet, somehow, for me, volunteering isn't optional, it is an obligation, but it comes with rich rewards that can only be realized through the experience.

 

 

 



Volunteer-Recognition-Award-Berman-Jim-BoveHowever it happens, volunteering seems to create good karma.
 It connects to something bigger than one person or one hour. Volunteering makes a difference for the community, and sooner or later, it can make a difference for you as well.

 


Harriete-Berman-SNAG-VRA-Sookyung-JunHelp out and you will learn so much, meet new people, people will get to know you, and perhaps open up new opportunities.

 

 

 

Harriete-Berman-SNAG-VRA-Sookyung-Jun-1Every organization needs help with jobs from big too small. Whether focusing on your local guild, national arts organization, school, or neighborhood, ask if you can help. Membership dollars (if any) cover only a small part of operations for most non-profit organizations. Organizations like SNAG can only thrive when volunteers help.

Speak up and volunteer your opinion. We all benefit when we share information, our experiences, and even our mistakes.  It can be reaffirming to have others validate that we all have so much in common.

Our work and our community become more meaningful when we work together.

VOLUNTEER IDEAS:

  • Volunteer for your local arts organization like SNAG
  • Volunteer to help out at your next guild event.
  • Need something from your local arts organization? Ask if you can make it happen.  Using the words of Gandhi, "Be the change you want to see."  
  • Give Blood - One hour out of your day can save a life.
  • Volunteer an opinion.
  • Volunteer at your children's school.
  • Volunteer at ResearchMatch.com  to participate as a healthy control subject  in medical research. It's easy and free.
  • Volunteer to clean up your neighborhood.

Volunteer, and you will have made a difference.

PHOTO CREDITS:

SNPin Volunteering Recognition AwardAG Volunteer Recognition Award Pin designed by graphic design student Ross Tanner, Grand Valley State University. Fabricated by Ross Tanner, and Renee Zettle-Sterling, Associate Professor of Art and Design at Grand Valley State University.

Side view of pin from Society of North American Goldsmiths for the Volunteer Recognition Award

Photo Credit for photos of pins: Renee Zettle-Sterling, SNAG Past-President 

 

Harriete-SNAG-Volunteer-Recognition-Award

Photo Credit: Boris Bally, SNAG Conference attendee, SNAG Conference speaker and maker.  

 

Volunteer-Recognition-Award-Berman-Jim-Bove

Photo Credit: Jim Bove

 

Harriete-Berman-SNAG-VRA-Sookyung-Jun

 Photo Credit: Sookyung Augustin


Harriete-Berman-SNAG-VRA-Sookyung-Jun-1Photo Credit: Sookyung Augustin


The "G-day" is here. Is your site "mobile-friendly?"

April 21st is the day that Google threatens to reduce the visibility of your website or blog in search results if it is not "mobile-friendly." 

Below is an image of an email that I received from Google Webmaster Tools. Sounds pretty scary to me.

Google-Mobility-Issues

I have been reading posts about this April 21st Google deadline for weeks, listening to podcasts, and knew this was coming, yet did nothing until last night jumping into a "beta" version of Typepad so that I could format all the colors and choices myself. 

The issues surrounding mobile usability could have a profound affect on how your business will show up in Google search results. For example, Google says that 100% of my website pages have mobility issues. This is a nightmare!

In summary, the reason for this mandate is that more and more people are  using their smart phones and tablets to access the web. 

In the next few weeks, I will try to bring some of the pressing issues forward as topics.

If you haven't signed up for Google Webmasters this is the time. Learn about Web Fundamentals from Google. 

Mobile-Friendly-TestTry the free Google mobile-friendly test for any page on your website.  Let me know what it says.

 

From Google: