Wholesale Terms and Documents

In the art business a wholesale transaction is a batch order of your work that you sell to a retail business. The benefit of doing business this way is that you get a large sale without having to market each individual piece. The buyer takes on the risk of selling your work retail from their shop in exchange for wholesale pricing. 

If you are planning to start selling your work wholesale, there are a couple things that you can do to simplify things for yourself down the line. Establish documents for use with potential wholesale customers including an order form and line sheet. It also helps to consider your wholesale policies and make decisions how you plan to do business. Having these things established from the beginning lets the customer know that you are professional and well organized. 

Order Forms 

When I put together my wholesale order form I began by thinking about what kind of information the form would need. Using an example I found online helped me cover my bases. The form needed to include all the information the client would need to get in touch with me as well as requests for all the information I would need from them to process an order. 

At the top of the form I made sure to include contact information for my business, including my website and email address beside an image of my logo. This information helps customers get in contact with me, and it acts as a professional heading at the top of my form. In fact I use the exact same heading on my line sheet.  

In the main body of the document I have a form for customers to fill in their order. This has lines for several items and column indicating; item number, description of the item, quantity or units, and price per unity. All of which the customer can pull from my line sheet when they make a purchase. This form also includes fields for the customer to calculate the subtotal and then add my flat rate shipping cost. 

To the left of this form I have a smaller column with my wholesale policies listed. I have included where to find the line sheet, terms of sale, and explanation about shipping, how I handle returns and exchanges and what forms of payment I accept. 

Beneath all of this I have a field for customer information. This includes any details I need to process payment and ship the order. I ask customers to give me their business name, Tax ID number, contact name, phone number and email address along with the shipping and and billing addresses for this order. 

Whole Sale Policies 

Some of my wholesale policies came from examples that I found on the internet, and some have shaped over time as I have gained experience as a small business owner. It is a good idea to state these terms clearly from the beginning, so clients have an understanding of what to expect from the transaction. 

I have a $150.00 minimum on any customer’s first wholesale order. After that the minimum drops to $100 for reorder. These minimums ensures that any wholesale arrangement that I enter into is worth the effort to fill it. I also state that all orders are prepaid by invoice when the order is made, which is another precaution to ensure I get paid for the order upfront.

Shipping is an important detail, because it is an additional cost that your customer will need to pay. In this section I include details such as turnaround time for the order, what provider I will be using for shipping and the flat rate fee that I charge for wholesale orders. It may not always make sense to include a flat rate for shipping, but I have chosen to do this for now to simplify my order process. I used the average size and weigh of my wholesale products along with my dollar minimum to come up with the box size I would be likely to use. From there I researched the price of flat rate shipping from the USPS website. I landed on $15, but you should calculate this based on your own wholesale products. 

With my returns and exchanges policy I left the door open for myself to make decisions on a case by case basis. I simply let the customers know to contact me via email about any damaged pieces. Typically if a customer has breakage I try to asses the situation fairly, if the piece is damaged due to packaging or some other issue that I deem to be my responsibility, then I replace it.

Wholesale Line Sheet

For my wholesale line sheet I kept things pretty simple. I used the same heading from the wholesale order form with my logo and contact information at the top left. On the right side of the header I included a product category for the items on the page as well as a page number. My wholesale line sheet is currently four pages long, and will undoubtably expand as I design new products. I organize my products by material, two pages of ceramics and two pages of chainmaille. With similar products grouped together. My shot glasses come in three colors. Each color is a separate product, but I have place the three shot glasses together on the page. 

For each item listing I include a nice photo of the product, that clearly demonstrates what the product is. Under each photo I include an item number, name or description of the item and the wholesale price per unit. 

Final Suggestions 

A wholesale price is usually half of retail or time multiplied by rate and added to the cost of materials. Make sure you are doing your math correctly for your wholesale prices, do not short yourself. 

Make sure your new documents are easy to find. I have both my wholesale order form and my line sheet up on my website for customers to download. I also have the line sheet printed out and ready to give to an interested business. 

Getting your business set up for wholesale may seem like a daunting task, but you can make things easier for your self by being prepared. If you need help putting together either your order form or your line sheet, consider contacting a graphic designer to give you a hand, or look for a generic template online. Good luck business people! 

SG Wholesale Page

Next Post: Accepting Payments

Selling at Galleries and Other Retail Locations

Finding the perfect gallery or retail establishment to sell your work can be a challenge. There are many factors to consider and knowing what you are looking for is important. Remember that the first choice is not your only option. Shop around until you find a retail location that fits your brand and meets your needs.  

Research 

Research is an essential first step. I like to visit the location in person, get a feel for the shop’s aesthetics and the other products the are selling. Ask yourself, would my work fit in well with this shop’s aesthetics? And are the values of this shop in alignment with my brand? Customers expect to find items that fit the aesthetic of the shop they are sold in. If this aesthetic aligns with your work, then you are more likely to make sales. 

Another factor to consider is foot traffic to the location that your are interested in. Does this shop get a regular stream of customers? When this shop holds an event, does it get a good turn out? More customers mean more sales, and more opportunities for your products to sell. Foot traffic and event turn out can also be an indication of a shops commitment to promoting their business. A well organized website and up to date social media are also good indicators that this business works hard to promote their shop. 

If possible, it is helpful to talk to other artists that show their own work at the retail location in question. Ask them what they like about the location, and if they have made sales there. Artist feedback can give you a lot of valuable information that the gallery or shop may not disclose openly. 

There are many ways that a shop or gallery can structure their sales terms. I am going to give you a few examples and explain the benefits and detriments of each. 

Commission Based Sales 

A commission is when the gallery or shop keeps a percentage of the profits from selling the piece. This is a very common sales arrangement. Typically galleries and shops take 20-30% of each sale. It is important to understand that this is the fee that they receive for providing the location for the sale and for marketing. It is their job to make sure that customers come in the door and have a pleasant buying experience. I consider a commission based sales arrangement to be fair, the shop owner is sharing the financial risk with the artist. 

Wholesale Based Sales 

Wholesale is uncommon for galleries, some shops opt for wholesale some do not. If you are considering selling your work wholesale you will need to think about your retail price vs. your wholesale price and your wholesale terms. Usually a wholesale price is half of retail. I recommend putting together a wholesale order form that clearly lays out your terms and will make these transactions more efficient and professional. Wholesale is good for artists. With wholesale, the finical risk falls entirely on the shop owner. They are paying for your time and materials to create your work and then selling it on their own terms. 

Renting a Shelf 

I would not recommend renting a shelf in a shop. When a shop keeper or gallery owner starts renting their space out shelf by shelf it is a good indication that their business is not doing well and they have opted to make money off of the artists instead of with the artists. When you rent a space, you are taking on all the financial risk. If your products sell well and you make rent it works out, but when your work does not sell you are still responsible for paying the shop your rent.

Red Flags 

Renting out shelves is a red flag. Renting out shelves and charging a commission is a big red flag. Here are a few other things to look out for. Going back to our research, check in with the location in which you plan to sell. Are they open when they say the will be open? Do they keep frequent and consistent hours that customers can count on? If the shop is not open, they can not sell your work. If the shop owner is keeps unreliable hours, it makes it difficult for customers to become regulars. 

Organization and tidiness are also factors to consider. An untidy shop is a good indicator that a shop owner is disorganized when it comes to their business. This can manifest as other problems down the line, including inventory loss, breakage and failure to pay artists for their work.  

Inventory and Pricing 

Once you have decided on a gallery or shop, you will need to prepare your work to be sold. Make and inventory sheet to help you track which items you are dropping off. The inventory should include a complete list of products, quantities (if you have multiples of any product) and the retail price. Make sure that the retail price includes the 30% commission fee that will be going to the shop. 

It is essential to have a good relationship with any retail location that carries your work. To ensure that you find a shop or gallery that you can count on, make sure you gather as much information as you can before agreeing to show your. Remember that this is a business arrangement and it is not asking too much for you to expect shop owners to hold up their end. 

Next Post: Wholesale Terms and Order Forms (August 15, 2021)

Supporting Artists in Your Community

I wanted to go back and revisit the idea of support for artists in more detail. I talked about it briefly in one of my very first blog posts “Finding Your Community”, with the goal of encouraging artists to accept help from their communities and to offer that same support in return to their fellow artists. 

The Value of Artists

Artists offer an essential role in our communities. During the pandemic especially, I feel that we have learned about the value of having entertainment and beauty to help distract us from the difficult things happening in our lives. Though, art is not only useful as a distraction, it can also be used to communicate. Visual symbolism and imagery are far more effective communication tools than words alone. 

In addition to entertaining and conveying ideas, artists also help to develop solutions to community problems. Many of us have chosen to take on a cause as part of our art career or have worked on projects that benefit the community as a whole. Examples of this include: environmental conservation artists, who gather plastics from our oceans and transform them into works of art; educators, who contribute to the growth and shaping of minds of all ages and activist artists, who use their work to remind us of the progress that still needs to be made. 

Tangible Forms of Support

There are so many ways to support your local artists. For the purposes of this blog I have decided to organize them into two categories: financial and non financial support. Financial support is essential for an artist. Without some form of financial support we would not have the time or resources needed to create art. That being said, not everyone has money that they can contribute regularly to the artists that they know. It is important to understand that non financial support is just as essential to shaping the careers of artists. 

Financial Support 

The most basic form of financial support is to purchase work from the artists that you want to support. This can be anything from shopping at their online store, to ordering a commissioned item. I should add that when I call this support, I do not mean that is it charity, it is not. Purchasing work from an artist is an exchange that each party benefits from. Another form of financial support can be attending events that the artists is participating in, and purchasing tickets, and/or merchandise. 

As the internet has grown, and the idea of valuing artists has spread, platforms such as Kickstarter or Patreon have given us new ways to support the work we love. Kickstarter allows an artist or creator to introduce an idea to their community, and request early stage funding to get their projects off the ground in exchange for early access to whatever the project offers. Patreon is a monthly support system that gives artists and creators a predictable monthly revenue source in exchange for benefits for the community members. There are many platforms that operate like this, and it is a great way to support your artists. 

Non Financial 

One of the easiest, and most compassionate ways you can support an artist is to tell them how much you like what they are doing. Encouragement goes a long way, but there are other ways that you can support an artists without spending money. Consider offering your time to help with a big project, or join them for a market event. Artists have so many plates spinning at once and help goes a long way. Another fantastic way to support an artist is to tell other people about their work. Helping artists form connections with new clients or potential opportunities is a huge part of what makes an art career work. This could mean anything from sharing their work on social media to talking about them with your friends. 

If you are an artist yourself and you are looking for ways to support your fellow artists consider sharing resources and opportunities with them. Forwarding a link to a grant that might work for them, or connecting them with another member of the artistic community can make a huge difference in what they are able to accomplish. Reciprocity and collaboration are essential components to a successful artist network and together we can build opportunities for ourselves and each other. 

What Does Your Support Mean for Artists 

What does all this support mean for the artist who receives it? When we talk about financial support we need to acknowledge that sales revenue and platforms like Patreon allow artists to pay for cost of living expenses such as food, rent, bills, car payments etc. in addition to the cost of the materials, tools and studio space that they need to create. These are expenses that an artist would have to supplement with other work if they did not receive financial support. When you support an artist financially you are literally buying time for them to create. 

Artists need and deserve the support of their communities. We do so much to enrich the lives of those around us, but unfortunately our time is not always valued enough for us to maintain a stable lifestyle. It is only through the support of our communities and the connections that we share with each other that we can create and thrive.  

Next Post: Selling at Galleries and Other Retail Locations (July 23, 2021)

Writing Artist Newsletters

Writing a monthly newsletter for your art community can be a little overwhelming, but there are things you can do to make it a sustainable part of your business practice. In addition to consideration about your dedication to writing a newsletter each month, it is also helps to know how to grow an email list and what you can and can not do with your subscribers’ information. 

Spam Laws 

Let’s talk about email list etiquette. There are many ways to build an email list, but not all of them are ethical or even legal. It is crucial to get permission from your subscriber before adding there email address to your list. Harvesting emails from orders, or trading email lists with other companies is not okay. Marketing platforms, such as MailChimp, will ask you to confirm that you have acquired the new email address with permission from the subscriber. Another important detail is having an option for someone to unsubscribe from your email list. Most marketing companies have this built into the email templates, but it is something you will need to add if you choose not to use a marketing platform. 

MailChimp

There are many options for marketing platforms out there, I personally have choose to use MailChimp. MailChimp has a free version of their platform that can be used with up to 2,000 subscribers, and while the free version may not have as many bells and whistles as their professional plans, it fits my businesses needs. 

Somethings that I like about MailChimp. You can duplicate an old campaign and then edit your new campaign off of the bones of the previous one. This helps to keep your email compositions consistent each month, by maintaining choices such as fonts, color and format. I should also mention that MailChimp allows you to customize your color pallets, the free version has a limited number of fonts but the options they do have are decent. I have been able to find fonts that work with my brand. 

Another helpful MailChimp feature are tags. Tags can be used to organize which members of your audience receive which email campaigns. Personally, I use tags to separate StudioGwyneth subscribers from Omni Open Studios subscribers. The campaign tags live in each subscriber’s profile. If you had a subscriber that joined the StudioGwyneth list, they would have only the StudioGwyneth campaign tag on their profile, but if that same subscriber later joined the Omni Open Studios list, I can easily add the Omni Open Studios campaign tag, and now that subscribe receives both emails each month. 

Gathering Email Addresses 

I have a couple of ways to gather emails, most are through my website. I have a form that allows interested customers to opt in to the email list. The form is located on one page, but I have links to that page all over my website. My events page has an option to subscribe to the email list for regular updates on coming events. The check out page on my online shop has a box that customers can check to join the list. Some companies choose to leave this box checked by default, but I think that is sneaky and unethical. I also have a subscribe option on my contact page. If someone is contacting me for information, that may also be interested in monthly updates. 

Another strategy I have used is having a handwritten email list available for folks to join on the table at art markets. I have a mini clipboard and print a half sheet sized form with my logo at the top and lines for emails. After I have added the email to my list, I add a little check mark and continue using the same page. 

Some small businesses use giveaway raffle opportunities as an incentive to encourage customers to join the email list. I do not bother with that myself. I have found that the people who are likely to open and read the emails are the folks who signed up for it because they were genuinely interested in receiving the information. An unopened email does very little to benefit your business. 

Content and Formatting  

When I first started writing monthly newsletters the content was the most challenging hurdle for me. I just did not know what to write. I thought that I had to write a lot of very meaningful things and it was overwhelming. Not a great recipe for a sustainable monthly newsletter. I decided to let go of the idea that the newsletter had to be really long, I started including more photos and I kept my paragraphs simple and to the point. 

My emails usually consists of a life update section. If I have any big news, or changes in my personal or professional life, that information goes at the top. Just below a photo. I try to keep the photos related to whatever is being said below them. If I am sharing a personal life update, I use a photo of me. If there is a shop update that I want to tell subscribers about, I use my favorite photo from the shop update shoot. When I announced my Patreon, I used a photo from the Patreon page to keep things consistent. 

Next I give my subscribers updates about what is happening this month. Events, giveaways, shop updates, the next artist video being released or this month’s podcast guest. Each of these little announcements tend to be about a paragraph in length, with a relevant photo and a linked button. I also include links in the body of the text, though not too many and I make sure that every photo in the email has a link if clicked on. If you are not sure where to send someone from a photo click, your shop or the home page of your site are good defaults. 

At the bottom of the email I have a section with upcoming events listed. These announcements are even shorter in length with a relevant thumbnail photo next to them. I always include the title of the event; the date, time and location; and a brief description of the event. Brief in this case means usually a sentence or two. I always include a call to action such as, “Go to the event page for more information.” I would then use the words “Event page” as a link taking the viewer to that page on my site. I also put links on the thumbnail photos. 

Links 

I can not stress how important links are. Make it as easy as possible for the viewer to get to the information or to the sale that your email is advertising. Links can go on photos, they can be linked to text in the body of paragraphs and they can go on buttons. In the case of buttons and text links, make sure to use language that will help guide the viewers. Try phrases like “shop now” on buttons or “go to the online shop” with the link on the word “shop”. Good communication is important. 

A monthly newsletter can be a time investment, but if you make use of the tools that your marketing platform provides for you, simplify your message and include photos, you will find that the campaigns come together pretty quickly. Remember to proof read you campaigns and double check all your links before you send them off. Happy marketing! 

Next Post: Supporting Artists in Your Community 

Designing Products that Customers Connect With

During the course of the pandemic I have had to focus on online sales, which has helped me to connect with my online community of supporters. This has offered me a lot of insight into which products my customers were interested in the most. Through trial and error I have developed a formula for designing products that my customers connect with. Products should be on trend, they should match your brand and be approved by your customer base. 

On Trend 

An on trend product or design is something that is currently fashionable in the market that you are selling in. Product ideas are a concept for the product itself. Mugs, wall hangings and incense burners are all examples of product ideas. A design idea is how you decorate a product or what the product looks like. If you create a mug with a cactus on it, the mug is the product and the cactus is the design.

A good way to research ideas for on trend products or designs is to look at platforms that you sell or advertise through. You can further extend your research by including platforms that are similar. I personally sell through my own website, and advertise through Instagram and Pinterest. Many of my peers on Instagram sell through Etsy. So when I research ideas for future products I look at Instagram, Pinterest and Etsy for ideas. 

It is important to remember that what is currently on trend will not always be on trend. This research process is endless. Instead of conducting formal research sessions, I recommend making a habit of observing trends in you daily life. I make a mental note of product or design ideas that I see on a regular basis. 

On Brand

When you start researching design and product ideas that are on trend, remember that you want to choose products that match you own brand. My brand includes earth tones and influences from nature, so I am unlikely to choose brightly colored unicorns in space as a design influence. They just would not go with my brand. Instead, I look for design ideas that are influenced by nature or product ideas that I would like to have in my own home. 

The materials and color pallets that you work with can often help guide you toward on brand inspirations. I limit myself to materials like clay, stainless steel and yarn, and a muted natural color pallet. This helps me to keep my products cohesive. 

Customer Approved 

One of the best things about moving my focus online this year was implementing social media to receive feed back from my community. I was able to conduct polls of new products and see what people liked and what was less appealing. It also gave my customers a direct line of communication to offer me feedback. 

I found that most of my customers gravitated to products that had a specific, recognizable design. My mini pumpkin and cactus sculptures were big hits while more functional products with simple textures were less exciting. I use this information as a guide when designing new products and it also helped me narrow down which products I should continue making. 

Creating art is very personal, and sometimes when one design is valued by your customer base over another, it can be disappointing. My advice is to keep creating new products and focus your attention on the excitement of creating something new rather that dwelling on why something did not work. 

Customer feedback is essential. Listen to what customers are asking for, this does not mean that you have to take every suggestion seriously, but if something comes up over and over again, it is likely a sound suggestion. My own customers started making requests for larger planters, when I obliged I was happy to see that they were some of the first products to sell when I did a shop update. 

Factors to Consider

Some items can be characterized as seasonal products and may not do well in one season then turn around a be a huge hit during another season. Here is an example. My mini pumpkins flew off the shelf between September and November, but the minute we hit Christmas they were old news. This tells me that I should be building these products in July and August and releasing them to my online shop and retail locations during the fall. 

Another factor to consider is where the product is being sold. My ceramic shot glasses do really well at art markets, where customers can handle them, and mix and match to create their own custom sets. However, this product does not sell well online. If I had not taken the time to try them in both venues, I never would have known. 

If you have a product that is struggling, take a moment to think about why it is not selling. The solution to boosting sales might be as simple as waiting a few months to release it or trying it in a different venue. Of course there are always times when a product just does not do well. It is important to recognize the situation for what it is and put your time and effort into developing something new. 

Designing new products can be really fun, but also overwhelming. A lot of your product decisions will be made based on your own instincts, but sometimes having a little help can take you further. Do your best to stay on top of current trends, be aware of your own brand and keep things consistent. Most importantly, listen to what your customer base is telling you by observing what the respond to and what they choose to purchase. 

Next Post: Writing Artist Newsletters (June 12, 2021)

Pouring Soy Candles

I tried a fun new thing this month! I turned some of my ceramic vessels into candles. Here is a little step by step post about my process. Before I could start I had to do some research about candle making and the materials I would need to do my own soy candle wax pouring. 

Starting off Small

I started off by purchasing a candle making kit. This included tools that I would need to melt the wax, the wax itself along with fragrances, wicks and containers to pour the wax into. I decided to start with a kit so I could try out the process without having to commit to a large wholesale amount of wax, but I would still have all the tools I need to make candles going forward. I purchased a kit with well made tools, knowing that if my experiment went well, I would ultimately be using them again for several candle batches to come. 

Researching the Process

My new candle making kit came with step by step instructions, but I wanted to learn about the process in more detail so I looked up candle making videos on YouTube. Each maker had their own unique perspective on the candle making process and this research really helped me to shape my own process. 

Setting Up 

When I am getting ready to make candles, I ensure that I have clear area to work. I start by covering my table with brown paper to protect the surface for any stray wax that may spill. I have a small electric burner that I have opted to use in my studio, rather that heating the wax on my stove in the kitchen. 

Then I lay out the containers I plan to pour wax into. I like to give them plenty of room, crowding the containers together makes pouring accurately more difficult and can end in a hot waxy mess. I add a wick to each container, ensuring that wicks size is adequate for the diameter of the container. Smaller candles get thiner wicks and larger candles get thicker wicks. I stand the wicks up carefully with a wick holder to keep them upright. This can also be done with a clothes pin. 

I also prepare the wax by measuring out the correct amount into my wax pitcher. 12 ounces of wax is a good amount for this pitcher, it also simplifies my math later when I add the fragrance. I use a scale to measure the wax. I set the empty pitcher on top of the scale and use the tare button to register the weight of the pitcher to zero, then its easy to add the wax till I hit 12oz. 

Heat the Wax

I use a double boiler system to heat my soy candle wax. I have a large pot that I fill halfway with water and then place the wax pitcher inside hooking the handle on the edge of the pot. Then turn the burner on to medium-high and allow the wax pitcher to sit in the water as it heats up. 

As the wax begins to melt I attach a thermometer to the edge of the pitcher. Ensuring that the tip of the thermometer does touch the bottom of the pitcher (this can drastically skew your temperature reading). I heat the wax to about 190°F, then I remove it from the pitcher and set it on a heat resident surface. 

Adding the Fragrance 

As the wax cools down to 185°F, I add 1oz of my fragrance to the 12oz. of melted wax. It is important to thoroughly incorporate the fragrance into the wax by stirring, however stirring the wax vigorously enough to produce bubble can lead to problems down the line. It is better to stir slowly for about two minutes. 

Pouring the Candles 

Allow the wax to continue cooling down to 135°F. Pouring the wax carefully is the most challenging part of the process. Some things to avoid; pouring the wax directly on to the wick, pouring down the edge of the container, and overflowing the container. I usually leave about 1/4” of space at the top of the container. 

After the wax has been poured it is important to make sure there is no residual bubbles inside the candle. I carefully tap the side of my candle containers to encourage air bubble to release through the top of the container. 

Cool It 

Before stepping away from my candles and allow them time to cure, I always double check the wicks to make sure that they are still standing upright. I give my candles 48 hours to cure before moving on to the next step. 

Cleaning and Trimming 

My last steps include tricks for cleaning the candles up in preparation for selling them. I like to go over each candle with a heat gun. This melts the very top layer of the candle and helps to smooth out any irregularities. I also use the head gun on the side of the containers to melt any wax that may have spilled. I sop up the melted wax with a coffee filter (which absorbs wax well and does not leave behind any lint) I recommend cleaning the outside first and the smoothing out the top layer of the candle so that the newly melted top layer can cool on a level surface. 

I trim my wicks to poke out about 1/16 inch above the lip of the container. This makes it easier for the user to light the candle and it looks nice too!

Supplies 

I purchased my first candle making kit online. I looked carefully at the quality of the tools that the kit provided and decided on a kit from Scandinavian Candle Co. After my initial success I decided it was time to purchase larger quantities of materials and found a wholesale supplier called Candle Science. I like their soy candle wax, they have a great selection of fragrances and their website had a clear and concise explanation about wicks sizes. The only hang up was a supply issue with their wicks, something a lot of industries are experiencing post pandemic. 

Making my own candles was a lot of fun and gave me a whole new product line to try out. If you decide to give it a try yourself, I wish you good luck and suggest reading through directions twice. Happy candle making! 

Next Post: Designing Products that Customers Connect With (May 30, 2021)

The Omni Open Studios Podcast

This week’s post is taking a bit of a different tone, instead of talking to you about some aspect of business in the art world, I will be using the platform to make an announcement. If you are unaware of my project Omni Open Studios, this may be a little confusing. Omni Open Studios is a project that I started back in September with the goal of supporting artists by offering them a platform to connect to their communities online. If you would like to learn more about Omni Open Studios please visit the about page. 

Changes to Omni Open Studios  

I am making some big changes to the way I host Omni Open Studios. During the pandemic I had the bulk of my living expenses covered by family, and I could put my time to use in any way that I saw fit. A lot of my time went into organizing, interviewing and editing Omni Open Studios content and events. 

Now it is time for me to resume my life, but I do not want to see this project disappear so I have made some decisions to help shape the future of Omni Open Studios as a project under the umbrella of StudioGwyneth.

I will be putting out the last of our Artist Videos in June, and discontinuing the Omni Open Studios Patreon community at that time. I will however, be starting a StudioGwyneth Patreon, which will still support Omni Open Studios as one of my projects. I am starting an Omni Open Studios podcast that will come out monthly, and I will still be hosting an annual live event online through Zoom each September. Both of these efforts will offer representation to artist at no monetary cost to them. 

If you are a current supporter of the Omni Open Studios Patreon, I want to say thank you for supporting our goals. So many artists have had a chance to participate in the opportunities that Omni OS provides and I really feel that we made a difference to their lives this year. I hope you will consider continue into to support Omni Open Studios by supporting the StudioGwyneth Patreon.

Goals of the Podcast 

Since I started the Omni Open Studios project, I have had the opportunity to speak with several artists about their work. For the most part our interviews are focused on the work they are doing, their lives or causes that they support. Though, I would really like to expand on these topics. During the unrecorded parts of our meetings we often talk about issues affecting artists in our community, problems that we may have encountered on the administrative side of our art businesses and so many other topics that people outside of art communities may not even think about.  

Another aspect of this podcast that makes it stand out, is the fact that we are interviewing artists that are not well know, or well established. Many of our artists are at the beginning of their careers or have chosen to pursue another career outside of the arts, but create on the side. This gives them a unique voice, that is also extremely relatable. 

I can not wait to begin recording our first episode. If you are an artist, wether you have participated in previous Omni OS opportunities or not, I encourage you to sign up to be part of this podcast. We will plug your shop, your classes and your causes. Fill out the form and I will contact you to set up a time to record.

The Podcast will be hitting the web this July, I will be posting on the usual podcast platforms, Apple Podcasts, Spotify and Google Podcasts as well as the soon to be created StudioGwyneth Patreon.

Next Post: Process: Pouring Soy Candles (May 16, 2021)

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Another Letter to My Readers

So, I know I promised to talk about commission work and agreements this week on the blog, and I promise that I will get to that for the next post. Meanwhile, I have some amazing news to share that just could not wait!

Early next month I will be making the long drive back to Portland, because I am finally moving back! It has been almost a year exactly since I had to give up my apartment and studio space and move back down to California to stay with family. I a so grateful for the support that has been given to me this year. From family taking me in, to friends who housed me on my trip home and the StudioGwyneth customers who chose to support my art.

We all have been through so much this year, and I can finally say that I am starting to see the light at the end of the tunnel. I have found safe, art related work with like minded people to supplement the work that I am already doing as StudioGywneth and I am happy to say that I am genuinely looking forward to the future.

The turn around time to move and start this job is pretty quick, so I have rearranged my to-do list so I can focus on the upcoming Omni Open Studios live event, completing my current commission projects and preparing for my move. There is still so much that needs to happen before I can begin my journey north.

Thank you all for your patience and understanding, if you are still in the market for some art related content please join us for the Omni Open Studios Spring event. It is a great venue for learning more about how artists make things and also good research for hosting online events. Hope to see you there.

Keep living your best lives.

-Gwyneth

Next Post: Custom Work and Commission Agreements (April 5, 2021)

Stories of a Studio Cat

I thought I would take a break from my usual blog topics, and share a few stories about my beloved studio cat, Aster, sometimes makes an appearance on my social media or in my product photos. Aster had to have a couple of teeth out this week, which is a common surgery for cats, but it made me worry about her. Especially with the things I have seen this year, it felt like just about anything could go wrong. So, here is a blog about my cat, I hope you enjoy. 

Kitten Story

Aster, or “Aster the Disaster Master” as we have playfully dubbed her, joined my family several years ago when I was still living in Memphis, Tennessee. At the time we were living in a small one bedroom, concrete walled apartment that was often infested with cockroaches. I had several unpleasant cockroach related experiences during my first several months living in Memphis, but the incidents became fewer and fewer after we adopted our new kitten, Aster. 

At the time, I had not connected the lapse in cockroach experiences with the arrival of our new kitten. Like the gradual disappearance of anything unpleasant, I simply stopped thinking about cockroaches all together. It wasn’t until we moved out of the apartment and pulled the refrigerator out from its place, that I realized what had been happened to the beetles. There was a collection of cockroach heads, dozens of them, littering the floor under the spot where the refrigerator had been. Our playful kitten had been dispatching roaches for us. Presumably, eating the bodies and swiping the heads, hockey puck style under the refrigerator to keep as trophies. 

Traveling Kitty 

Aster has had the unique experience of becoming a very well traveled cat. She has journeyed with me from Tennessee to California, then from Central California to Southern California and from Southern California to the Pacific Northwest. The only constant in my in my poor kitty’s life, seems to be me and also change. 

Over the years, Aster has become more and more comfortable with traveling in the car. Instead of rinding in a carrier, Aster sleeps on the seat next to me, or looks out the window. She enjoys holding her face up to the air conditioning vents and bobbing up and down as if she is surfing on a breeze. When we are stopped in traffic, she likes to watch the people in the cars next to us. They always get a kick out of seeing a traveling cat. 

Fuzzy Explorer 

I think that Aster’s experience with travel and constant change has shaped her personality, because she is quite the little explorer. Anytime she finds herself in a new location, she immediately begins cautiously exploring the new environment. I have seen her stand on her back paws to open cupboard doors. She wraps her two front paws over the lip of the door and walks backward taking the door with her, once she is satisfied that it is open, she will duck around the door and investigate the goings on within the cupboard. If there is nothing exciting inside, she moves on the the next cupboard door. It is not uncommon for me to return to a place where we are staying, only to find all the cupboard doors wide open like the Sixth Sense. 

Cozy Hiding Spots 

At the beginning of the pandemic, Aster and I stayed with my brother for a few days on our trip back to California. During our stay, Aster made herself suspiciously scarce. We searched what we believed to be the entire apartment, top to bottom. We knew that none of the doors or windows had been opened since we had seen her last, but we still could not find her. My poor brother was becoming distressed, worried that his apartment might not be as cat proof as he had thought. Was there some cat sized hole that he had forgotten about?

After a time, I convinced my brother to sit down and resume dinner. I explained that my cat had a knack for finding the most elusive hiding spaces and that she would turn up soon. After all, she could not have gotten out. After about twenty minutes of tension while we sat and ate, we heard a cat sized thud on the kitchen counter. Aster had climbed up into the space above the refrigerator, but under the cupboards and had been hanging out behind a discarded wine box. The sneaky little cat was so please with her cozy hiding spot and had refused to come out, despite our frantic searching. 

Missing Cat 

I had a much worse scare when I moved to Fullerton for college. I was living in a three story condominium with three other women, who were each renting rooms. Most of the time, Aster stayed in my third story bedroom, because another cat who had lived there longer had run of the living room and she was not a fan of Aster. The idea of Aster making it all the way down to the ground floor and then out the front door into the world, seemed very unlikely, but it did happen one day. 

Quick cat tip: If your are going to put two strange cats together, a male and female works a lot better than two females. 

I spent hours circling our complex, calling her name, shaking a bowl of kibble, and gradually turning into a crying mess of a cat mom. I refused to go to class, I called in sick to work and in the end I just sat on the porch willing her to come home. That is when I saw a man in coveralls carrying a cat sized cage and heading for my neighbors condo. I jumped to my feet and accosted the man. I wanted to know where he was going with that cage. He explained that someone had a crazy cat in their condo and could not get them out from between the washer and dryer. I knew it was my cat. 

They did not let me in right away, and I stood on my neighbor’s front porch while that man from animal control “assessed” the situation. Apparently, he determined that retrieving the cat would be a pain, because he came back downstairs and asked me what my cat looked like. Once I was allowed inside, I ran upstairs. The floorpan of this condo was identical to ours, and it made sense that Aster ran straight to the third floor. She probably thought she would find our room up there, but when she arrived it did not look right. She hid in the nearest place she could find, the laundry closet. 

My neighbor helped me pull the washer and dryer apart and I reached in and scooped up my cat. She did not scratch or bite, she knew it was me and remained clutched in a tight ball even after I got her back into our own condo and up to our room. The poor girl had been traumatized, and swore to never go for another adventure, at least not for a while. 

Comfort Cat

I can not tell you how relieved I am, that Aster has consistency returned to me after her kitty walkabouts and that she has stayed in good health over the years. She has always been such a great source of comfort and companionship, from cuddling with me when I am sad, to being my only company when I move to a new city. I am very thankful for this little cat. 

Next Post: Let’s Talk About Marketing Materials (February 5, 2021)

Imposter Syndrome in the Art World

In true imposter fashion, I realized last night that I can not write a blog about imposter syndrome because I have never experienced it and only a true imposters would have enough expertise to comprehend this subject. I should probably leave it to them and back out before anyone realizes that I am a complete fraud. 

What is Imposter Syndrome? 

Imposter syndrome is a psychological pattern in which a person is unable to internalize their achievements and believes that at any moment they could be exposed as a fraud. This phenomenon was first identified in the 1970s by Dr. Pauline Rose Clance and Dr. Suzanne Imes. At that time they theorized that women were uniquely affected by imposter syndrome. 

I read their paper, The Imposter Phenomenon in High Achieving Women, and found myself relating to some of the patterns of thought reported in female college students and faculty. They reported situations in which women would remain silent in the face of an apposing view point, or would refuse to take credit for an accomplishment, even casting doubt on their own abilities. The paper suggest that society’s perception of women plays a strong role in how women relate to themselves and to other women. Our society seems unable to conflate femininity with success. This has taught our daughters to believe that they cannot be successful, therefor any success that they have achieved must have been accidental and unrelated to their own abilities.  

Including Intersectionality 

Clance and Imes had some very strong points, however the paper is lacking in acknowledgment of intersectionality.  Imposter syndrome is not solely experienced by women. It has the ability to rear its ugly head in any group that has been undermined or outcasted by society. This includes, but is not limited to racial and ethnic minorities, the LGBTQ+ community, people with disabilities, and people working in professions that are undervalued.

The Uniquely Affected

Though Imposter syndrome is found all over and in different industries, the art industry is uniquely affected. In the art industry, the artist offers a little piece of themself with each product they sell. Rejection of the art sold can feel like a personal rejection of the artist. 

Just like the academically accomplished women in Clance and Imes’ study, an artist’s perception of themselves and other artists is a reflection of how society views them. In our society, artists are often under appreciated. Art is considered to be a nonessential luxury, that will only be supported by audiences that have large disposable incomes. Authorities in the art world will tell up and coming artists that the likelihood of their success is very slim.

This response from society has done a lot to discourage artists that may otherwise be active parts of the creative community. Artists feel less inclined to advocate for themselves, often accepting low pay for hard work and hesitating to promote their own art business. Some artists even feel unsure about being identified as an artist. Questions like, “How do you know when you are a real artist?” circulate art forums. This level of self doubt is not easy to contend with, and has turned many people from the creative path. 

We Are In Good Company 

Personally, I have fought with imposter syndrome through out my career as an artist. From what I have read about famous and wildly successful artists, it is a feeling that never truly leaves you. Some accomplished artists have shared about completing a well received piece of work and then worrying that they will never make anything better than that. Some have expressed doubts that their work was ever truly good, and that the public will figure it out some day. 

I feel comforted by the idea that no one really knows exactly what they are doing. We are united as a community by our shared experience of making shit up as we go. Anyone who really knows what they are doing has arrived at that peaceful place in their mind by trial and error. We all deserve to be here as much as the person next to us and we are all imposters. 

Next Post: Listing Your Artwork Online (November 27, 2020) 

Sites that I used for research: 

• https://time.com/5312483/how-to-deal-with-impostor-syndrome/

• https://www.psychologytoday.com/us/blog/real-women/201809/the-reality-imposter-syndrome

• https://www.paulineroseclance.com/pdf/ip_high_achieving_women.pdf