Problem-Solving for Creatives #5: Call in the Experts!

PROBLEM-SOLVING FOR CREATIVES #5: Call in the Experts!

Making jewelry with my artifacts is a LOT easier than mounting them in a shrine!
Making jewelry with my artifacts is a LOT easier than mounting them in a shrine!

 

We don’t have to know everything. We just have to know who knows what we need.

(5 minute read)

This series is dedicated to opening our perception of what a “team” is, and how our team support us in our art journey. We’ve covered the skills that got us here, the beliefs that keep us going, and the people who value us, and our art. Even the ones who are toxic have value, when I realized the only person who can stop me from making my art is ME.

Today, let’s talk about the experts.

First, of course, there are the artists and teachers (and people who are both!) who shared their art-maiking skills and education with us.

Then there are the people who help us get the word out about our art. In FASO’s (Fine Art Studios Online) unique AMP (Art Marketing Playbook), we not only get to hear Dave Geada share his insights and expertise about online marketing (websites, Instagram, etc.), we get to hear from experts he’s brought in for their take on things, too. (You can enjoy a 30-day free trial of this program by signing up here. Trust me, it’s worth your time. I’d say it’s well-worth the money, but…it’s free!) For the record, I don’t share just because it’s a feature of FASO where my own website is hosted. I’m sharing it because, even though I’ve used social media for years, I learn something new every single time. (Ask me about my pages and pages of notes I’ve taken on every AMP zoom meeting I’ve attended!)

There are other experts available, online, too. Other views on art marketing, instructional videos for art-making, etc. It seems like I search the internet almost every day looking for the expertise of others to help me move forward with my work.

But what has helped me move forward in leaps and bounds have been friends and acquaintances who have unusual skills I need.

I’ve written before about my New Hampshire friend Gary Spykman, whose creative work is hard to put in a box. (Literally! Woodworker/furniture-maker only begins to cover it.) Gary helped me move forward on some big projects, and what he taught me is reflected in my latest shrine project.

And now here I am in Northern California, far from old friends and fellow New England artists, still working on that big project, still getting stuck regularly on my journey.

This next step is hot. Literally. I need to make my own museum mounts for displaying some of the artifacts in the stacked boxes I’ve put together. I took an online class about this, just before we moved to California. But it involved welding/brazing with much bigger torches than my mini-torches, and I never felt safe trying this on my own. I found a maker space here in Sonoma County with classes, but the pandemic shut that down. I tried to purchase mounts that might have worked, but they are expensive. I’ve tried other methods of display the artifacts, with not much luck.

But I think I’ve found my expert!

And in a beautiful twist of fate, it came from me sharing MY expertise with THEM!

Our local art organization that hosts two open studio events a year is on a strict budget this year. We’re actually using older road signs from previous events, borrowing some from people who aren’t participating this year, and cleaning/restoring damaged signs.

One of the people in charge of the sign committee shared the difficulties of removing decals (arrows, studio numbers, etc.) during our steering committee meeting (Zoom!). Aha! I can help with that! I volunteered to bring my bottle of Undo and some other glue debonders to restore these signs. We met up in his outdoor workshop, fully masked and distanced, and tried them out. They worked! This reminded him of other, similar, chemicals he has on hand that removed every trace of Sharpies, too.

It wasn’t until later that I realized, this is a guy who’s been into welding and metalwork since forever. And he might be the perfect guy to help me figure out this mount-making issue.

And in another twist of fate, once I had some hope for learning how to make my own mounts, I gained more insights into other aspects and issues, like how to drill a hole inside a tiny box where a drill (even a small hand drill) won’t fit. I won’t bore you with the details on that, except that JB Weld glue will be involved. So even though that wouldn’t work for connecting the boxes, because of how I put them together, it has huge potential for artifact display. (No, I’m not gonna glue the artifacts!) So here’s another shout-out to Chris Fox, customer service rep at JB Weld.

Just like the glass artist I mentioned in last week’s article, whose partner can build a shipping crate for them, these experts are often right under our nose, in plain sight.

So what holds us back from asking for help?

For me, I’m afraid they’ll say no.

Yup, a grown woman afraid to ask for help. Yikes!

But for some reason, because I’d already done them a favor, it felt okay to ask for a favor in return. And he said yes!

I’m calling Rick Butler, metal sculptor, as soon as I finish this article.

Turns out that many, many people are happy to help others in their creative work. We may fear giving away our “trade secrets” (though very few of us are actually using processes that only belong to us.) We may fear of giving too much away, or having our work being copied in the process. (That copy fear again!)

And yet, if we open our eyes and look around, we may find the exact expert we need to move forward with the project dear to our hearts. Or at least gain a step forward on our journey.

Your shares and comments are encouraged! You can post in the comments (at Fine Art Views or at my blog) if someone has helped YOU move forward in your skills and projects. And also if YOU have helped others in theirs! What goes ‘round, comes ‘round. When it comes to creativity, that is so true.

And if this article helped you, you can read more of my articles, and the expertise of others, at Fine Art Views. Search for “Luann Udell” in the “Topics” drop-down menu, or your favorite FAV writer!

 

PROBLEM-SOLVING FOR CREATIVES #4: Your Team Is Bigger Than You Think!

I don’t create in a vacuum, and neither do YOU.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Your Team Is Bigger Than You Think!

We have a lot of people who support our art, if you know where to look!

 (4 minute read)

 In my Fine Art Views column last week, I shared how our experience, expertise, and perseverance with our art, helped us get to where we are today.

A commenter must have read my mind! They wrote:

“While this article was very interesting, it kind of perpetuates the whole artist as lone individual toiling away. In addition to all the mindset attributes you mentioned, the reality is none of (us) work alone. We do have a team and it is helpful to remember it. It may be those who encourage and support us literally and figuratively. It is certainly other creatives who are willing to share ideas, techniques, and resources. It is all those who help us, whether it is FASO support, the suppliers and shippers we use, or those who share their experiences. We all have a team. No one creates alone.”

 To which I replied, “Amen, sister, and stay tuned!” (Thank you, Nancy Allmand!)

My intention was to share my next column, “Call in the Experts!”, including all these ‘team members’ Nancy mentioned. But I realized there’s a step in-between, including many NON-experts:

We do not create art in a vacuum. Many, many people have helped us along the way.

Some are obvious, and some may be ‘hidden’ until we look back at our own ‘creation story’ and see those crucial influencers.

Obvious: That art class we took, and its inspiring instructor. The art degree we attained, with many, many more classes and instructors. That online workshop we took that expanded our horizons. FASO web-hosting for artists, and their AMP/Art Marketing Program, available even to non-subscribers. The books, magazines, newspapers, websites, etc. that featured us and our work, and helped us grow our audience. And of course, as Nancy mentioned, our customers, who support us by actually buying our work. The gallery owners/managers who took on our work and market it to their audience. Even the calls-for-entry/exhibition proposals that give us opportunities to share our work with a new audience.

A little less obvious: That person who always saw the artist in us, and who gently encouraged us, even as we constantly heard family members exhorting us to “get a real job”.. Our audience, who many not have the money nor the room to collect our work, but who truly appreciate it—and constantly let us know! The people who taught us how to make, market, and sell our art. The people who share our work, our words, and help us grow our audience. The art supplies store that struggles to still serve artists during the shut-down orders, and the on-line retailers that fill in where they can’t.

The hidden: The people whose hearts have been lifted by our work, our painting/jewelry/music/teaching/creative work, who we may never hear from. (But when we do, what a gift!) Our partners, who may graciously lift the burden of making tons of money from our work (or at least allow us the time and space to get there!) The challenging instructor who doesn’t pull their punches, who tells us exactly what we’re doing wrong, and shows us how to fix it.

In her comment, Nancy even mentioned the companies who ship our work. So true! In one of those oddly-synchronistic moments, I met a new artist in our complex last week. She was packing a huge wood crate in our shared parking lot, and I asked her about it. She said, “Yeah, it’s a huge order of glasswork. But I didn’t make the crate, my partner did!” What a great team member her partner is! And whatever shipper will deliver it, yes, that’s part of her team, too.

The more deeply-hidden: The people who told us we weren’t good enough, who pissed us off enough for us to finally see them for what they are: Unappreciative, simply unkind, or who were envious of what we have. I’ve had many incidents of people, some with good intentions, some not so much, who caused me pain in my art career. But when I look back, I can even see their gift, in a positive way.

They made me realize that the only person who can prevent us from making the work of our heart, is US.

 Next week, inspired by my latest shrine-building project, I really will talk about the experts to call! But until then, I’m grateful to Nancy, because we are on the same page when it comes to recognizing our team.

And your homework, should you choose to accept it, is to take a few minutes to consider your own team. Think back to what, and who, kept you on this heart-based path to making, and sharing, your art with the world. Behind every tiny decision was a person who made that happen, even if some can take us years to truly see. For extra credit, share some that I’ve missed, in the comments!

Your shares and comments are always appreciated, and you can check out my blog on my website for more articles on creating.

 
Luann Udell, artist/writer
“Ancient stories retold in modern artifacts”
Jewelry, sculpture, fiber art, assemblage
Studio: 33Arts 3840 Finley AVE (Bdg 33) Santa Rosa
Mail address: 621 Brown ST Santa Rosa CA 95404

 

 

PROBLEM-SOLVING FOR CREATIVES #3: Who’s On Your Team?

20201208_131746.jpg

My next step? More artifacts!

This article was published on Fine Art Views.

PROBLEM-SOLVING FOR CREATIVES #3: Who’s On Your Team?

Don’t sell yourself short when facing new challenges!

 (5 minute read)

In last week’s Fine Art Views column, What’s the Hard Part?, I shared how trying to figure out a new project in advance has its disadvantages.  I talked about how simply starting with my best guesses helped me move forward steadily, one little step at a time.

I got inspiration from a blog post by Seth Godin, who posed this issue as a team project. But many creatives, especially artists of all kinds, don’t have a “team”. Yep, it can get lonely over here!

But even as I was thinking that, I realize we all DO have a team. It’s just not what we normally think of as a “team”.

We have skills. Creative work is just that: Creative. Making something that wasn’t in the world before we made it. It doesn’t come out of nowhere, of course. But it does come from US. Wherever we got our skills, whether or not we went to art school, or took workshops, or are self-taught, we didn’t show up in the world with those skills. We acquired them. Yes, we may be quick learners (or not), we may have innate talent (or not), but know this: Nobody is born knowing how to play the piano. We had to put ourselves out there and practice, practice, practice to get where we are today.

 We have an attitude. We found something that called to us, whether it’s painting on a canvas, writing a story, playing an instrument, etc. We may have been told we weren’t good enough, or that we couldn’t make a living at it, or a ton of other discouraging words. But we wanted it. And so we took up our creative work, pursued it with all our heart, and got those above-mentioned skills.

We make time for it. We can have tons of talent and oodles of practice. But if we don’t make time in our lives to actually do the work, well, it simply won’t be in the world. In fact, time is something that can give us our best excuse for NOT doing something that matters to us. (See “challenges” below.) In order for us to have a ‘body of work’, we had to make room for actually making it in our lives.

We chose our medium(s). This may seem like a no-brainer, but it isn’t. Some people choose their art medium because of the automatic respect they believe they’ll get from it (like oil paints over acrylic, for example.) That’s okay. But in fact, most of us choose our medium because of how it meshes with our own personal habits, quirks, and preferences. Each medium has its costs, drawbacks, and benefits, each forces us to interact differently with it. I quickly grew frustrated in my one acrylic painting class, because the paint dried too fast. I couldn’t play around with it, blend it, etc. I can’t even imagine working with watercolor! Knowing our work preferences and process helps us see our works-in-progress more clearly.

We know our materials. We know what substrates (canvas, paper, wood panels, for example) will work best with which media, and how to prepare them. We know which glue to use with what (and if we don’t, we know how to find out!) We’ve learned what color blending techniques to use, how to construct an effective color palette, what kind of clay to use in our potter, what glazes to use, how long to fire polymer clay, what our preferred method of book-binding is, etc. etc. etc.

We know our process. In my own box art path, I’ve learned that epoxy and silicon construction glues can be very useful in putting several boxes together. But they have their drawbacks, too. I used them until they didn’t work for me (e.g. in some cases, the glue bond is stronger than the old wood I’m attaching it too. Ask me how I know.) Then I had to try something else.

We have experience with solving problems. So many of us (ME!!) forget this. We’ve gotten used to success with what we’ve learned. We forget how hard it was when we started out. We forget how long it took us to master our craft. And yet (see note about playing the piano above) we got to where we are today because we persevered. Because…

We have experience with ‘challenge’. I see them on social media every day! Painting of the day. 100 Days projects. They’ve been popular work-inspirations for years, but are even more popular now. Joining them takes commitment, and a little courage, too. And it helps that we make time for them, because we’ve gotten good at that, too. (See “time” above.) And I’m amazed at the already-talented people who then share how much they learned through these challenges. They were forced out of their comfort zone, and into new territory.

We have goals and dreams. We all had dreams as children. Some of us wanted to be a fireman, some of us wanted to play sports, or music, some of us wanted to be an artist. Not all of us followed our hearts, of course, and our goals and dreams can change along the way. But even people who “fall into” their calling, have to persevere to make it happen. In my article about graduates of The Juilliard School, we can see that we only lose our dreams when we walk away from them. And most people do that because they believe they aren’t good enough, or it’s not worth all of our effort. Those who persist, have to get over that hurdle, too. Because…

We know how to believe in ourselves, and we know the power of that. Oh, sure, I know I am not “the best” polymer clay artist in the world. Every day, I see people with ten times the talent I have. That can slow me down. But it will never stop me. I have a vision in my head, I have big dreams in my heart, I have projects that are begging to be in the world. Because they are my voice in the world.

And once I got back to my place of power, finding the key that helped me to just try, I made progress. Slowly, but surely, I used what knowledge I had until I found a better solution. And I kept that up until I got something satisfying, something that I knew was going to work. (Let me show you my enormous bracket-and-screws collection….!!)

So the next time you feel like you’ve hit a wall, like you’ve got a creative problem you just can’t figure out, think about what’s worked for you along the way.

 Social media marketing is a biggie and will be as long as our “new normal” is in place. Some of the most talented creatives I know are in a frantic limbo with Facebook, Instagram, newsletters, etc. They are overwhelmed, feel under-prepared, and are freaking out.

My advice for you today: You didn’t get to where you are today by chance, by accident, or through lack of skills.

You got to where you are by not giving up, by moving forward, one small step at a time.

 And because your ‘team’ has been with you, every step of the way.

Next week, I’ll share another powerful member of your team. Stay tuned! Until then, know that your comments are always welcome, often insightful, and sometimes inspirational, too! Shares, the same. Questions, I’ll do my best! You can find more of my articles at Fine Art Views, and/or visit/subscribe to them at my blog at LuannUdell.wordpress.com.

PROBLEM-SOLVING FOR CREATIVES #2: What’s the Hard Part?

Fortunately, having enough artifacts will NOT be a problem!
Fortunately, having enough artifacts will NOT be a problem!

What’s the Hard Part?

(5 minute read)

I had a problem this week. I didn’t know what to write about for my next column.

Last week, I wrote about how I got through the roadblocks that held me back from a project I dreamed of years ago. When I wrote it, I was at the end of a major first part: Building the wood box shrines that will showcase my handmade artifacts.

Here’s what I wasn’t prepared for: I didn’t know how to solve the next step. And I felt like a loser once again. Overwhelmed, no energy, self-doubt up the wazoo.

In fact, I felt even more pressure on myself! After all, I’d just joyously announced I had plenty of shrines constructed, and now I was ready for the next step. Except now I could see there would be even more trial-and-error aspects ahead. It felt like I’d climbed one mountain, only to see that I was only on the first peak. I still hadn’t actually reached the top. (I looked this up, and yes, a mountain can have several peaks, points that are individually higher than the surrounding/adjacent areas. But only one is the actual summit, the highest peak. Huh.)

So I hit my first peak and was a little dismayed to realize there were more ahead.

Today’s blog post by Seth Godin clarified my dilemma neatly:

“What’s the hard part?”

The title alone helped me move forward. Because getting through the first ‘hard part’ taught me something important:

Trying to solve things in our heads is doing it the hard way.

 What we really need first is a foundation to build on.

My husband is a writer/journalist/programmer. Quite a mix, I know! He taught himself coding back in the 1980’s, and though he says he’s not “the best”, he’s mastered it enough to achieve his current career goals.

He’s been working on a project for a year now, and last week, he had a major breakthrough, too, like I had six months ago with my own project.

Today, I asked him what brought about the breakthrough.

He didn’t understand at first, so I asked, “Did you have an inspiration, like a dream (like Elias Howe, sewing machine guy) or while thinking about something else (like Archimedes taking a bath)?

He said, “I had to build the foundation first. Everything I want to do, depends on creating that first.”

Aha! Like a building. The foundation not only holds everything up, but it determines the size, shape, and function of the structure. A skyscraper office building requires a totally different foundation than a house.

He finished the foundation. And then he realized he was ready to start making the functions that depend on that foundation. (He also hit a wall, just like I did with my shrines!) (Yes, we’re both recovering nicely, and moving forward again.)

A foundation means we have a vision of where we want to go, and we have concrete (sorry!) ideas of how to get there, even if we don’t have everything else figured out yet.

Even those famous inventers had a deep understanding of what the problem was, before they could experiment with solutions. They had to know what was missing before they could fill in the blank spaces.

Archimedes’ “Eureka” moment didn’t come out of nowhere. He understood the problem was identifying pure gold from gold-and-silver. His bathtub gave him an insight. In fact, a list of dream-inspired insights show us that all of the inventors/writers/creatives were already working on the problem/mystery they wanted to solve. I love how Wikipedia even has a section on “activation synthesis hypothesis” in the dream-inspired insights article. It acknowledges that our conscious brain plays a huge part in these insights, even when we’re asleep. Even if the dream seems metaphorical, our conscious mind will actively seek and identify that “metaphor”.

In my case, a shrine series started with how to find enough boxes, how to pair up those boxes efficiently, how to distress, paint, and antique those boxes. And the hardest part, how to connect them together in an efficient, strong, aesthetically-pleasing way.

And once I’d made “enough” shrines to get started on actually putting artifacts in them, I stalled a bit. But now I have air beneath my wings again.

What’s the hard part?

The biggest one is setting aside our fears and our self-doubt. Whether our projects involve coming up with a new series, a new process, a new technique, a new approach to our art, even exploring social media marketing, trying to do it in our heads may only take us so far.

At some point, we have to simply try.

And if it matters to us, we have to keep trying.

 Hold in your heart my favorite quote by Thomas Edison:

“I have not failed 10,000 times. I have not failed once. I have succeeded in proving that those 10,000 ways will not work. When I have eliminated the ways that will not work, I will find the way that will work.”

Fortunately, getting adept at using social media marketing is not nearly as difficult! It can sound daunting, and it can take time to get there. There are plenty of great resources available to us, including FASO’s own AMP (Art Marketing Playbook) series of recorded Zoom workshops hosted by FASO’s Chief Marketing Officer, Dave Geada. (I did not realize you can try this program free for a month. Nothing stopping you now, right?)

But in order to get results, you simply have to try. When it comes to social media marketing, you have to actually take pics of your creative work (so much easier now!), upload those images, get comfortable talking/sharing/connecting online, and then get better.

Our first foundation is creating those accounts, and getting started. We have to stop worrying about how hard it seems, set aside our worries of being copied, what to share and say, worrying about how to get 10,000 followers, etc.

We have to get over counting the “likes” and focus on simply getting our art out into the world.

It’s not about having an audience. It’s about having a voice.

 Seth’s blog talks about “the team”, which through me for a moment. Until I figured that out, too! Stay tuned for next week’s article in this series: What is our team, and what is our team effort?

Your comments are always welcome, often insightful, and sometimes inspirational, too! Shares, the same. You can find more of my articles at Fine Art Views, and/or visit/subscribe to them at my blog at LuannUdell.wordpress.com.

PROBLEM-SOLVING FOR CREATIVES #1: The Things That Hold Us Back

PROBLEM-SOLVING: The Things That Hold Us Back, Including Our Own Self-Doubt

When we get really good at making our art, it's easy to forget how hard it was to get there in the first place!
When we get really good at making our art, it’s easy to forget how hard it was to get there in the first place!

This post is by Luann Udell, regular contributing author for FineArtViews. She’s blogged since 2002 about the business side–and the spiritual inside–of art. She says, “I share my experiences so you won’t have to make ALL the same mistakes I did….”  For ten years, Luann also wrote a column (“Craft Matters”) for The Crafts Report magazine (a monthly business resource for the crafts professional) where she explored the funnier side of her life in craft. She’s a double-juried member of the prestigious League of New Hampshire Craftsmen (fiber & art jewelry). Her work has appeared in books, magazines, and newspapers across the country and she is a published writer.

PROBLEM-SOLVING: The Things That Hold Us Back, Including Our Own Self-Doubt

How Thomas Edison, Scarlett O’Hara, and Cake helped me through some hard places.

Years ago, the band Cake came out with an adorable video about their newest song, “Short Skirt/Long Jacket”.

In the video, people on the street are offered a chance to listen to a new song by an unnamed band (Cake) and asked for their opinions.

I love this tune! Every time I hear it, I want to get up and dance. It’s swingy, it’s lush, it’s pure-d fun.

In the video, about a third of the folks hate it, and tell us why. Another third like it, commenting on the parts that work, and don’t work, for them.

And the ones that absolutely love it? They don’t even talk.

They just dance.

They move to the music, oblivious to everyone else around them.

Why bring this up today?

Because I’m in the middle of a dream project I’ve carried in my heart for years.

It’s a new series of box shrines, made with antique, vintage, and distressed new wood boxes, painted, antiqued, screwed together in stacks, and mounted on wood bases. I will fill them with my own handmade artifacts. You can see them here on my Instagram account.

I’ve made them before, big ones. I had access to a friend’s woodworking studio, their tools, and their expertise.

This time, it’s just me.

Many, many things have held me back. Relying on antique and vintage boxes meant it was hard to have exactly the right stock for every configuration. I decided against using construction glue and epoxy this time around, because I found out the hard way that old wood can be more fragile than those glues. I still wasn’t sure how to mount the artifacts in the perfect way.

In short: I believed I couldn’t just start until I had everything figured out.

Which meant I didn’t start for more than seven years.

The pandemic changed everything. I had nowhere to go, no open studio events, no galleries open to selling work.

And also no excuses.

So I changed my attitude and my strategy.

I would start with what I had. If I could only put together a couple shrines, well, okay then.

And I decided I would just keep making and moving forward until I hit the next roadblock. And then I’d figure it out.

Guess what?? It’s working!

Every purchase that was a mistake? That was information on what would work better the next time.

I found sources for new wood boxes that I could distress and texture to look old, to fill in the gaps in my collection. A friend sent me a bunch of small handmade parts drawers.  I bought brackets and braces, experiment until I found the right ones.

Like Thomas Edison, I found hundreds of things that didn’t work.

And then I found exactly what did work.

One of my biggest hang-ups was finding shallower/flatter boxes to use as bases/foundations. They gave the shrines a more ‘finished’ look, but finding ones the right size and price was tricky. Until I finally found these affordable wood painting panels in a variety of sizes and shapes, that worked perfectly.

I agonized about how to make my own museum mounts for positioning and displaying the artifacts. But instead of waiting to find “the perfect one”, I bought one type. Instead of lamenting my inability to weld or braze, I thought of different ways I can make them myself. (And just as I’m writing this, I’m realizing I did a huge favor recently for another artist who is a life-long welder. Hmmmm……I think I know a favor I can ask of them!)

I worried about how many and what kind artifacts I need to make. But I’ve put that off for now because warmer summer months will be better for working with polymer clay. (My studio’s average winter temperature is 48 degrees.)

And the last barrier getting in my way? I wake up at 3:00 a.m., realizing my studio is now filled with soooo many shrines, there’s no room to even adequately display them all. And I’m worried no one will buy them.

My solution to that? I use what I call my “Scarlett O’Hara” approach: “I’ll think about that tomorrow.”

I tell my lizard brain to go back to sleep. It’s not about the selling right now, it’s about the making.

I’m sharing my progress on social media. That helps me not only record my progress, I also get to see the response. Which has been favorable!

Most people seem fascinated. They can’t wait to see where I go with them. Some have been inspired to explore their own versions. Many people are interested in a class, which, now that I have sources for affordable new boxes, could be possible.

And today, I came across an old journal from 2015, with those insights about Cake’s new song, which in turn inspired this article.

There are people who will love these shrines. There will be people who won’t.

And some won’t have any words.

They’ll just dance.

·        Just for today, don’t worry about who will and won’t like your work.

·        Just for today, don’t worry about whether it will sell.

·        Just for today, start that project you’ve always dreamed of. Experiment. Trial-and-error. Tiny steps forward.

·        Just for today, share your progress and process with your audience on social media.

Just for today, make the music that is your art, that makes you want to dance.

Ironically, today I also found this quote on Cake’s website:

“The ultimate measure of a man is not where he stands in moments of comfort and convenience, but where he stands at times of challenge and controversy.”

—Martin Luther King Jr.

Your comments are always welcome, often insightful, and sometimes inspirational, too! Shares, the same. You can find more of my articles at Fine Art Views, and/or visit/subscribe to them at my blog at LuannUdell.wordpress.com.

MADE YOU LOOK: Why Our Fear of Being Copied Works Against Us On Every Level

If I'm famous 100 years from now, maybe my handprint will be my own forensic evidence of authenticity!
If I’m famous 100 years from now, maybe my handprint will be my own forensic evidence of authenticity!

This post is by Luann Udell, regular contributing author for FineArtViews. She’s blogged since 2002 about the business side–and the spiritual inside–of art. She says, “I share my experiences so you won’t have to make ALL the same mistakes I did….”  For ten years, Luann also wrote a column (“Craft Matters”) for The Crafts Report magazine (a monthly business resource for the crafts professional) where she explored the funnier side of her life in craft. She’s a double-juried member of the prestigious League of New Hampshire Craftsmen (fiber & art jewelry). Her work has appeared in books, magazines, and newspapers across the country and she is a published writer.

If this fear is keeping you from sharing your work on social media, it’s doing far more harm than the copying itself.

 (6 minute read)

For the last few weeks, I’ve hinted that it could be worth your while to watch Netflix’s documentary, “Made You Look: A True Story About Fake Art”. Short story: An artist from a culture that views “copying” differently than we do, creates fakes that sell for millions. (They may not even have realized how their work was being used to create a scam.)

What captured my attention was this description: “Made you Look is an American crime documentary about the largest art fraud in American history set in the super rich, super obsessed, and super fast art world of New York (City).” Obsessed. Rich. Fast. Put a pin there.

I’m amazed at the timing! This came out right after an artist I’m mentoring asked me about using watermarks for their new website. (They were worried their work might be copied.)

It’s estimated that 50% of the major art in on the market today, sold to private collections and museums around the world, are fakes.

What does this have to do with the fear of our own work being copied?

First, is your work worth millions? No? Then nobody is going to get super-rich copying your work. Here’s a good story about that, one I originally heard while on a tour of the FBI building in Washington, D.C. as a kid. The guy made beautiful nickels. That cost him about 3.5 cents to make. Guess how much money he made off them? Yep, not much. (Though today, those same forged coins are worth a lot, because of the story.)

Second, do people buy your work mostly for its investment value? No? Then nobody is going to get rich selling copies of your work to super-wealthy people, who do.

This documentary had a lot of interesting takes, especially how easily people can be fooled when we unconsciously want to be fooled. A woman with no knowledge of fine art shows up to a fine art gallery, in a car with a trunkful of Rothko paintings? And as they are sold, she “finds” even more? Come on!

In earlier articles I’ve read about art forgeries, many art experts can feel at some deep level that the artwork didn’t exactly ‘resonate’. But this time, plenty of experts chimed in that these truly were authentic. (That’s how good the copies were.) It wasn’t until a company was contacted that did deep forensic work that revealed them as fake. (The company above that charged $19,000 for such an assessment.) So these works ‘felt’ authentic. Now that’s a great copy!

Another irony: Not a single living artist benefitted from these forgeries. Only the forgers, galleries, auction houses, and appraisers made money. 

But here’s what really struck me as I watched this documentary:

Collectors love, love, loved their Rothkos, Warhols, and Pollocks. They were delirious with joy at getting a chance to own one, because, they claim, they absolutely loved the artist’s work.

Until they found out they were fake.

 Then all that love disappeared in the wink of an eye. 

This speaks volumes to me.

In other words, these collectors loved the idea of owning an original Rothko, Pollack, etc. And they appreciated the value of their purchase. They weren’t “blowing money on” décor. They were investing in a purchase that would only increase in value over time.

Do they really love art? Maybe.

Or do they love being able to show off just how much money they have? (In defense of these collectors, there are indeed very sweet reasons why we value originals over copies.)

I’m an art collector, too! Albeit on a very different level.

  • I’ve purchased original artwork from artists I love, and whose work I love.
  • I’ve purchased prints from artists who don’t have the original any longer (sold!).
  • I’ve purchased prints from artists whose work I can’t afford.
  • I’ve purchased original artwork I fell in love with, at antique stores and thrift shops. Sometimes I can trace down the artist, but usually I can’t. (Illegible signature, no online history, etc.)
  • I purchased a wood santos figures at antique stores. After finding duplicates, I realized they were mass-produced copies. I still loved them, but when we moved, I sold off the ones I didn’t love that much. (Ha! My own bias for ‘originals’ shows! And my unconscious desire to believe these were originals.)
  • I’ve purchased really weird objects that people have made, at flea markets, yard sales, and thrift shops.
  • I’ve purchased reproduced artwork at T.J. Maxx and Home Goods. (In fairness, the reproduction rights were sold by the original artist, so they did gain from the sales.)

And I love them all.

The artwork I have moved on? Usually it involves an artist whose work I loved, but did not love the artist. I mean, they treated me rudely, or with disdain, or in other toxic ways. I eventually sold it, or gave it away, because every time I looked at it, it reminded me of that artist. Ugh!

Why do your collectors buy your work?

And what is the reason you hope they buy your work?

Here is what I hope:

I hope they find it beautiful.

I hope they find it lifts their hearts when they see it/wear it.

I hope they remember the wonderful conversations we had, before, during, and after their purchase.

I hope they feel encouraged to share their own creative work with the world.

We all want to be seen. We all want to believe we have a place in the world. We all have a creative place in our souls. We all want to be remembered when we’re gone.

People who copy actually want the same thing, though they are certainly going about it the wrong way. Most can’t adequately copy the skills we’ve acquired along the way.

And the other things they can’t copy well?

Our story. Who we are. Our face-to-face encounters with our audience in real life, through our galleries, and through our social media presence online. Those who have followed us for years, and leap to buy when they see “their” piece, the work we made that speaks to them.

Two lessons learned here:

  • Our art does not speak for itself. We speak for it.
  • Not sharing our art (out of fear of being copied) only harms us.
  • Okay, three lessons: Most of us are probably not in the same league as Rothko, Pollock, Van Gogh, and other “big market” art. (I’ll add “yet” there, just in case.) And we are also still alive. So we can share our work on social media with more confidence.

In closing, I found this spot-on quote in a Scram-lets puzzle, of all places:

“If it’s important to you, you will find a way.

If not, you’ll find an excuse.”

Don’t let fear get in your way!

Our work may be copied, one way or another. Trademarks and copyrights won’t stop them. Once we discover the copycats, there are ways to discourage them that don’t involve a lawsuit over a copyright violation, as some commenters shared. Most will stop on their own, when they realize they aren’t going to make a lot of money doing it, or when they move on to copy someone else’s work.

But the fear itself can be soul-crushing. Fear is a way for our lizard brain to keep us safe. But fear does not serve us, here.

Of course, in these times, social media is hands-down the best way to share our art.

But even when we get back to a somewhat-old normal, remember this:

Do you want to have your voice in the world? Share your work.

Your comments are always welcome, often insightful, and sometimes inspirational, too! Shares, the same. You can find more of my articles at Fine Art Views, and/or visit/subscribe to them through my blog.

NEWSLETTERS (AND BLOGS!) 101 #29 Part Deux: Share Your Work (and Let Go of the Fear of Being Copied)

I'd rather spend my time making my art, and let go of controlling copy-cats.
I’d rather spend my time making my art, and let go of controlling copy-cats.

Better question: What is the highest, best use of your time and money?

 (4 minute read)

 Nothing will totally protect your artwork from being copied, not even unlimited time nor deep pockets of money.

In last week’s article about our fear of being copied, I shared how the most commonly used practices to protect our online art images (watermarks, disabling ‘right click’ on our website, etc.) do very little to actually protect us, and end up simply annoying our true collectors and potential buyers.

In the original article that sparked this discussion, I shared how someone may have found my art tagline attractive, and adapted it for their own use. (Again…MAYBE.) After sharing my emotional journey from dismay to acceptance, and moving forward, a reader suggested I ‘trademark’ my slogan.

First, thank you for thinking of me! I know this came from a place of wanting to help fix this problem.

I have no intention of doing that, for many reasons. But I did become curious about what would be involved.

 I looked up what a trademark protects, what resources it gives us, and how much it costs. (Disclosure: Lori Woodward would have dived deeply into this, which is why I miss her highly-informative posts on topics like this. I did a cannonball in the shallow end of the pool instead, so feel free to go further with your own exploration, if you need to.)

Trademarks are indeed a way to protect our ‘slogan’. (Copyright protections do not apply to slogans and short phrases.)

However, they don’t automatically stop people from using our own words. They simply give us the means to increase our power if we decide to pursue our trademark rights.

That means, filing a lawsuit. Which costs time, and money. A lot of money.

·        First, it costs from $225-$400 simply to file a trademark.

·        It only lasts 10 years.

·        There are extra fees for extensions, amendments, and maintenance.

·        And it can take 6 months to a year to be approved.

·        It’s highly recommended to hire a lawyer to do the filing, to make sure everything is done correctly.

·        And lawyer fees typically run $125-$300/hour, and usually get to $500-$2000 per action.

That’s a lot of money to protect six words.

Second, trademark action is only supported if the copied usage creates confusion. Hence, we have Delta Airlines and Delta faucets, because very few people would be confused by the two companies. (I was going to say something funny here, but I decided not to.) (Actually, I couldn’t think of anything funny, but if you can, be sure to share it in the comments!)

I don’t think I’ll be filing a trademark application anytime soon.

So back to my original point: This person’s bio echoed my tagline. But their work did not. In fact, their body of work doesn’t even echo their tagline. (What I could find of it, anyway.)

And I don’t think anyone looking at their work, and my work, would ever confuse the two.

Furthermore, I never would have even seen the wordy resemblance, if a friend/artist back in New Hampshire hadn’t pointed it out to me.

So for a minimum of $725 up to $2,400 for protection, for ten years’ protection, is it worth it?

And again, that protection only makes my legal action more solid. I would still have to file a lawsuit, pay lawyer fees, take a lot of time off work, and a pile of energy I don’t have right now, to make that legal action stick. (Yes, sometimes a cease-and-desist letter will have the same effect, but that costs lawyer fees, too.)

Even if I won my case, and won damages, whoops, here comes another copy-cat! Let’s do it all over again! Oy.

We artists are not multi-million dollar franchises with corporate lawyers to manage this for us. Most of us are sole proprietors (or “soul” proprietors) squeaking through, hope to earn a nice income from our work. Or at least enough to break even every year. A very few may be lucky to have a spouse handling the business end of our art making, but I’m guessing even fewer have copyright/trademark lawyers for partners.

So I repeat:

How do you want to make the best use of your time and energy?

Dealing with those people who consciously or unconsciously tread on our toes? Defending our art like an angry, indignant meerkat, sending cease-and-desist letters, scouring the web for instances of people copying our work, our words, spending hundreds or thousands of dollars on “protection” we probably can’t afford, that won’t work anyway?

Or could we choose to count our blessings? Give thanks for our ability to create the work that makes us whole, that brings us joy?

Could we choose to be grateful for the ease of sharing it with the world freely (literally!), daily, in ways that lift the hearts of others?

Could we rejoice in the fact that we can choose every single day what we make, where we make it, how we make it, and know that, if we’re doing it right, our audience will instantly know, “That’s a Luann Udell!”?

I know what I will choose, every single day.

What will YOU choose, today?

Next week, another article on true forgeries, and what made me smack my head in disbelief. (If you haven’t already watched “Made You Look” on Netflix, you still have time!)

Your comments are always welcome, often insightful, and sometimes inspirational, too! Shares, the same. You can find more of my articles at Fine Art Views, and/or visit/subscribe to them through my blog.

NEWSLETTERS (AND BLOGS!) 101 #28: Share Who You Are

It's good when your artist story/statement/tag line matches your body of work.
It’s good when your artist story/statement/tag line matches your body of work.

NEWSLETTERS (AND BLOGS!) 101 #28: Share Who You Are

Marketing is about sharing—and KNOWING—our own unique story!

 (3.5 minute read)
Yesterday a friend/fellow artist sent me a link to another artist’s “artist sentence/statement”.
It was slightly crushing, on so many levels.

The first is, they are highly-visible in their field, selling for famous mail-order art catalogs, featured on several platforms, etc. So, a little envy popped up. (Note to self: “Money/fame are not the only measure of our success.”) (See? I have to remind myself, too!)

Second, their “art sentences” was dismaying. Very, very similar to my own tag, which is “Ancient stories retold in modern artifacts.” (Let’s just say the identical word ratio was about 50%-75%.)

But what was really weird is, their work did not reflect this aesthetic.

I fumed, briefly. What should I do? Complain? To whom? Do I “own” these words? No. Do I know for sure they copied mine? No. Do I know who’s been using them longer? No.

I even subscribed to their newsletter, thinking I’d get a feel for who they really are, at heart.

And then it hit me:

Why should I care???

I can make assumptions. I can do research. I can fume all I want.

In the end, I have no control over this situation. Zip.

Even if I did, here’s what I finally realized:

Do I want to waste my precious time and energy taking this on? Do I really want to die on this hill?

 

The answer is, “Nope.”

Focusing on the negative leads to dark places, loss of energy, and distraction.

 

That artist can do “them”. I will do me.

My work has been, um, imitated, from time to time. I’m sure even more than I know! Because the ones I know about are often because the, um, imitator, actually shared that information with me. Polymer clay is a relatively new art medium, and techniques/palettes/projects get shared/copied/reposted constantly. (Oddly, the polymer people who are most protective of their “copyrights” are NOT the people who originally created those techniques/palettes/projects. Go figure.) For more insights on copying and the polymer/any art medium world, check out this article and this one by Ginger Davis Allman of The Blue Bottle Tree.)

I was going to say this is the first time my words have been borrowed. Except that’s not true, either. For a long time, some people would repost my blog posts and articles on their own platforms. Not good. Because invariably, their readers assume they wrote them! (FWIW, it’s more respectful to share a synopsis, or a personal take on how the article affected you, and share a link back the writer’s platform.)

I finally stopped that, too, unless it goes too far.

I am not saying you or anyone else has my permission to copy any of my work.

What I will say is this: People who do this? They yearn for what we have, but either haven’t developed their own skills, story, and personal vision, or have chosen not to.

There we have it. The power of our choices.

 

Today, I will unsubscribe from their newsletter. I will work on my stuff today, and let go of envy. I will scratch my head about an artist story that doesn’t really relate to that artist’s work, and didn’t encourage me to want to learn more.

And I will move on.

I will go to my studio and continue working on my new shrine series. (A customer followed up with me today, asking if I’d contacted the gallery they’d referred me to. Dang! They’re doing better follow-up than I am!)

I will focus on the work that brings me joy, and peace in my heart. I will find ways to share it today, in my social media marketing.

I will continue to only focus on what is under my control, and strive to let go of what isn’t.

And I hope with all my heart that today’s words will encourage you to do the same! (If you aren’t already, in which case, good on you!) (My husband asked me where this phrase came from, as opposed to “good FOR you”. I think it’s a New England thing.)

Your comments are always welcome, often insightful, and sometimes inspirational, too! Shares, the same. You can find more of my articles at Fine Art Views, and/or visit/subscribe to them through my blog.

NEWSLETTERS (AND BLOGS) 101 #25: Share Your Wonder!

And we get used to ?normal', we don't think of it as unusual at all.
And we get used to ‘normal’, we don’t think of it as unusual at all. Swift birds bring songs of hope from the far corners of the earth. They urge me to tell more stories.

NEWSLETTERS (AND BLOGS) 101 #25: Share Your Wonder!

You may offer new joy to those who take such things for granted!
(4 minute read)

 I have lived in the Midwest, the East Coast, New England, as far north as New Hampshire and as far south as Baltimore.

In over sixty years, I never saw a hummingbird at rest. Never once.

Oh, I get there could be “reasons”. We’ve had bird feeders, but never hummer feeders. I don’t think they winter over in places like Michigan, Massachusetts, or New Hampshire, though I could be wrong. (I could stop to research this, but that’s not the point of this article. You can, though! And let me know.) (Never mind, I did look it up, and no, they don’t winter over in northern climates.)

Then we moved to California six years ago, and that changed.

The first house we lived in, we still had no feeder. But we soon learned that a hummingbird came to a tree in front of our porch, every single night, at the exact same time (relative to sunset) to sleep for the night. He sat in exactly the same spot, too, though he would take different routes/paths to get there every night, too.

We could set our watches by his pattern, and we often ran to the porch to see him “turn in” for the night.

Then in October, our little neighborhood had a Halloween parade. It was joyful and noisy. It annoyed the hummer, and he left for the rest of the winter.

Now, in our new rental home, we have feeders, and so do neighbors. I see hummingbirds all day, every day, at rest—and everywhere else!
They perch on telephone wires. They rest in trees, one that’s outside our bathroom window. I get to brush my teeth and watch the little guy groom, scritch, hop around from branch to branch, and fend off intruders and rivals regularly. One had residence in a shrubby space outside my old studio door. He would duke it out regularly with the California scrub jay and the mated pair of Steller’s jays that hung out there, too.

A little bird that used to be a complete (visual) mystery has now become a wonderful part of our everyday life here.

Others have even more intimate experiences. A hummer-lover here has one of those hand-feeders, and the patience to get hummers to sip the nectar from her hand!

Sharing that here in California, maybe that would get a “meh” reaction. Because it’s ‘normal’ here. But I’m guessing much of my audience back in those states we used to call home? Would be gaga at what I’m sharing today.

Now, if you are someone who paints/draws/writes about birds regularly, you might already be sharing stories like these.

But if you’ve relocated once/twice/a heckuva lot in your life, you have a powerful access to what is unusual, intriguing, and different. You experience first-hand a whole slew of little miracles, every day. (My first was having to go for a run in Baltimore at 6 a.m., in April, to avoid the heat. IN APRIL. If you grew up in Michigan, like I did, your jaw may be dropping right now.)

Every place/time/state/city/etc. has its own ‘normal’. And we get used to ‘normal’, we don’t think of it as unusual at all.

When we realize what we’re experiencing is special, in and of itself, it widens our appreciation of life. It lifts our heart. It can bring joy in hard times. (Remember that little maple seed pod in SOUL?)

And what better way to share that little insight in our social media? In our email newsletters, our blog posts, our Facebook and Instagram posts?

Bonus feature: Do you hate starlings and pigeons because they are ‘useless, annoying city birds”? You might have more respect for pigeons after reading this article and more awe for starlings after watching this stunning video. (Watch this full-screen for the best experience.)

Your shares and comments are always welcomed!

Share this link from FineArtViews.com or view my blog at luannudell.wordpress.com.

If someone shared this article with you, and you’d like to read more in this series, visit my articles at FineArtViews.com.

PS:  Help stop the Salmonella epidemic during migration season!

NEWSLETTERS (AND BLOGS) 101 #24 and a half: Don’t Do This!

NEWSLETTERS (AND BLOGS) 101 #24 and a half: Don’t Do This!

When it comes to email newsletters, asking for permission is a heckuva lot more professional than asking for forgiveness!

(4 minute read)

Show your subscribers that you "give a hoot"!

A couple of things that really bug me popped up in my email inbox lately. They are related, but separate.

And I realized, if they annoy me, they will probably annoy your fans, too.

The first one is:

Don’t cc everyone on your email list! Use bcc instead, please!

Lately, I’ve been added to some unusual email lists, ones I didn’t sign up for. (More on that below.) They were mostly friends who wanted to ‘get the word out’ about something specific.

They included everyone’s email address in the “cc” section.

This may seem like a harmless issue, or perhaps even too picky.

But this IS an issue for several reasons:

  • Some of those people might be very protective of their privacy and contact info. And you just shared it with dozens, maybe hundreds of people they don’t even know.
  • Someone may be protective of their privacy because of abuse, physical harm they’ve suffered, scammers, etc.
  • There may be someone in that group they want to avoid, for many reasons, large and small.
  • And some people may be tempted to do the second thing I hate:

Please don’t sign me up for your email newsletters unless I specifically ASK to be signed up.

When people ask a question about my articles, I usually ask them to send an example. And since I’ve been writing about email newsletters, that’s what I get.

Except, many people signed me up for their newsletters, permanently.

And other people included in that “cc list” may do that, too.

I know for sure this is what happened to me. I signed up for a workshop a couple years ago, with a local artist hosting a meet-up for a nationally-based art consultant. The consultant and the host sent updates. I ended up not being able to attend.

But the host added me to their email newsletter. And that really, really annoyed me! I signed up for something they were hosting, not for their work.

Now, emails don’t take up much space on our desktops, nor even our laptops. They are usually very small in size. So deleting them doesn’t really save any space.

And I’m not one of those people who deletes everything (except accidentally!), and I usually keep stuff I think I might want to refer back to someday.

But:

  • It’s still a lot of stuff in my inbox, and can be distracting if I don’t have time to read them.
  • Though I support everyone’s creative work, that doesn’t mean I want to hear from them every week.
  • And there are people I simply don’t like, who I’d rather not hear from.
  • I hesitate to unsubscribe, for the reasons I listed above. Though I know I shouldn’t get upset when some people unsubscribe from MY newsletters, it makes me hesitate to unsubscribe, even from the folks I don’t like.

So don’t put your email subscribers in this position.

I know sometimes we have to go out on a limb in order to build our email list, especially at the beginning. Every article about email newsletters suggests great ways to get people on board, telling us reaching out to friends, family, customers, studio visitors, etc.

I know it’s easy to unsubscribe, too.

I know it’s easy to ask for forgiveness rather than to ask for permission.

But there are consequences.

FASO’s email newsletter service is very ethical. Even when you add someone who’s TOLD me they want to sign up, it will still ask that person if I have that permission. Unsubscribing is clear and easy, and sometimes people will even share why they’ve made that decision.

Most of the ‘professional level’ email programs follow the same guidelines.

But when it comes to forgiveness vs. permission, go with the latter. Please.

Protect your followers’ privacy, and respect their boundaries.

Use “bcc”, and only sign up those who ASK.

As always, your shares and comments are welcome!

Link back to it here on Fine Art Views, or my blog at luannudell.wordpress.com. I repost my FAV articles on my blog, so if you have trouble leaving a comment at FAV, you can subscribe to my blog here and/or leave a comment on my blog.

If someone shared this article with you, and you’d like to read more in this series, here are all my articles at FineArtViews.com.

NEWSLETTERS (AND BLOGS) 101 #24: Share the Generosity of Others!

Natalia's necklace
Natalia’s necklace

NEWSLETTERS (AND BLOGS) 101 #24: Share the Generosity of Others!

It’s a powerful way to honor the kindness of others.

(3 minute read)

In an earlier article, I mentioned that a friend back in New Hampshire reached out to me re: my newest series of box shrines. She had one of those beloved handmade parts storage boxes, so common on the East Coast. (Maybe other places, but that’s where I’ve spent most of my life, and that’s where I collected most of them.)

These are little boxes, usually made with scrap wood: Cheese boxes, pallets, cut up and nailed together to make tiny drawers.

She sent me a photo and asked if I’d be interested. Me? YES PLEASE.

Natalia’s little box drawers, repaired, painted, waxed.

I asked her how much $ she wanted for them, and she said they were free. Then she said shipping was free, too.

I was gob-smacked. I protested that was TOO generous. She told me I’d given her a beloved wooden horse marionette (from Bali, I think) which I’d totally forgotten about. She treasured it, and wanted to reciprocate in a way that would help me move my artwork forward.

So she sent me the little drawers, and I sent her a horse necklace as a thank-you. (See how that circle keeps on giving?)

Insights: When WE are generous, it sparks kindness and generosity in others.

When WE are the benefactors of the generosity of others, it sparks the same in US.

Caveat: Not all gifts/generosity/kindness is directly reciprocal. As a very good friend told me years ago, when we give others our love and generosity, the UNIVERSE will give it back. That is, the person we helped then, may not be the person who helps us now. Someone else may step in. (Hence, the universe/whatever higher power you have faith in.) It may not be the same person, it may not be the same kind of help, it may take a while. But accepting this wider definition of give-and-get can help overcome any resentment or sadness we may take on. It REALLY helped me during a hard time in my life, when people I thought would show up, didn’t. And people I never expected to show up, did. (Thank you, Roma!)

In this case, Natalia and I are in a circle of kindness. It doesn’t have to go on forever, of course. But this month, it was exactly what I needed, just in time.

So a shout-out to Natalia Gorwalski of Walpole, NH! We met through a mutual friend, and we all share a love of horses. Natalia owns a horse, our mutual friend rescued/adopted a horse from the riding stable I rode at, where I leased a horse. Those long, long rides we took along the Connecticut River trail, from farm to farm, were among the best times of my life. (Natalia is working on her own art project, and sent me a lovely image of her first metal horse sculpture!)

I’m sharing this because a) this is someone who helped me move (literally!) and b) has now helped me move forward with my art. People who love my work might be happy to hear that story.

And I love the opportunity to share that love with my readers.

Cheese boxes.

Shrine series, with a big thank-you to Gary Spykman for HIS generosity!

I bet YOUR audience will enjoy hearing about YOUR story of generosity, too! And sharing it in our email newsletters, on our blog, on social media platforms, will help spread the joy.

Your shares and comments are always welcomed!

Share this link FineArtViews.com or view my blog at luannudell.wordpress.com.

If someone shared this article with you, and you’d like to read more in this series, visit my articles at FineArtViews.com.

NEWSLETTERS 101 #22: Share Your Galleries

Artpark by Luann Udell
SUNSET by Luann Udell

NEWSLETTERS 101 #22: Share Your Galleries!

Your chance to support your customers AND the small businesses that support YOU!

(4 minute read)    

 Today’s big insight for me: All these newsletter topic suggestions will also work for blog posts!

And today’s column will also be a lot shorter, because I won’t have to go into deep explanation mode on why this would be such a great topic for your email newsletters. Because it’s pretty obvious!

I wish I’d thought of this back in the day when I did wholesale fine craft shows, and my work was carried by galleries all across the country. Dang!

But it’s not too late. I still have galleries in New Hampshire, and several here in Sonoma County that carry my work. And now I can help promote them!

  •  I can talk a bit about the owners/managers. Like the co-managers of the League of NH Craftsmen gallery in Littleton (except pandemic shut-downs have addled my brain that I can’t remember Beth’s partner-in-crime art! Ack!) who brought homemade chocolate chip cookies to all the craftspeople at the week-long Annual Craftsmen’s Fair who had work in their gallery. Let’s just say I was always glad to see them, not just because they are awesome people, but because homemade chocolate chip cookies!! 
  •  I can share the gallery location. Not only so people know that my work is available nearby (and certainly closer than California!), but I can also share where they can stop for lunch, other cool shops nearby, sight-seeing, etc. Because usually when I made the trek to delivery new work, that’s what I did, too.
  •  I can share pics of the work available. Soooooo much easier these days! Yet another gift of online marketing/social media.
  •  I can share my gratitude that they’ve chosen to carry my work. Corrick’s is just one of the wonderful stores that carry my work here in Sonoma County. Corrick’s is a highly-respected family-owned biz (four generations!) here in Santa Rosa, whose history goes back generations. They are avid art-lovers in all its forms (opera!), and they are terrific supporters of the art organization that sponsors our open studio tours. (In fact, they have an entire gallery for those artists!) They offer custom framing, and quality gifts, office supplies, books, and collectibles. Their employees are stellar!
  •  They deserve a shoutout during these difficult times. Although some people complain about “visual art exhibits” not being as engaging, and many artists complain that their sales have suffered from them, all my galleries are making tremendous efforts to support us all while also keeping us safe, often a thankless job. I consider them heroes!
  •  We are “vetting” these great galleries for other artists. Galleries are always on the look-out for artists whose work would be a great fit. And both galleries and artists value our validation that these are good people to work with.
  •  A prestigious gallery is good for OUR reputation, too. For years before my work became better known, people would ask me what kind of art I made. And when I described it (which was and still is hard, because it’s out-of-the-box), they’d go, “Oh, okay.” Then they’d ask what galleries I was in. I’d say, “I’m a member of the League of NH Craftsmen” and their whole attitude would change from, “Yeah, sure” to a heartfelt “Wow! Where can I see it??” (This was before smart phones, so I couldn’t easily show them my work.)
  • Sharing our personal experience is seen as more ‘truthy’ than an ad. Anyone can purchase an ad, which is why most of skip over ads in newspapers and magazines. But an article is seen as having “outside validation”, and that’s the role our email newsletters play. In other words, we artists validate our galleries, for our audience.

Sharing our galleries is a win/win for everyone!

 Speaking of sharing (hint, hint) if you found this article helpful, share it!

Link back to it here on Fine Art Views, or my blog at luannudell.wordpress.com.

If someone shared this article with you, and you’d like to read more in this series, here are all my articles at FineArtViews.com

NEWSLETTERS 101 #21: Share Your Customer Service!

Some roadblocks to my latest Shrine Series resolved, full steam ahead!
Some roadblocks to my latest Shrine Series resolved, full steam ahead!

NEWSLETTERS 101 #21: Share Your Customer Service

How a family-run business has made me a lifelong customer!

(4 minute read)

You get a pass today. I started today’s column on a different note, getting all the details just right. Which meant, of course, that it ran on and on. Then I accidentally deleted it. So…a shorter read today!

I wanted to share a new topic idea for your email newsletters that your readers will appreciate.

A project dear to my heart has been blocked for years. I ran into a few roadblocks on a new series of box shrine. I was using a silicon construction adhesive to join the boxes. It worked until it didn’t, and I was at a loss of where to go next.

I came up with two different solutions: Mechanical connections (which was a whole nother can of worms, until I worked my way through them, too) and epoxy.

I bought a tube from a local hardware store. But it went south the first time I tried to use it, and in frustration I reached out to the company. I described what happened, asked if it were shelf-life related (yup, some glues and epoxies have a shelf-life.) And waited for a reply.

My experience with customer service regarding defective products hasn’t been good.

I fill out all the forms online, then wait weeks for a response. IF I ever even get a response. (This is my usual experience, especially from companies too big to care  very much.)

So I nearly dropped my teeth when the company care rep for J-B Weld responded the next day. In less than 24 hours. (They’re in an earlier time zone, so it was impossible for them to respond any earlier.) The rep not only responded quickly, he sent me about a dozen tubes of epoxy, fresh from their factory line. Some were the same I’d purchased, but he added a variety of others for me to experiment with. For free.

He refused my offer to pay for them. And when I followed up a few weeks later, sharing my success with some the glues, but the same issue with others, he promised to send even more glue! Even after we realized part of the problem was the temperature in my studio (it’s usually 48 degrees in the winter until my space heater gets going), he still made it his personal mission to help me get my project moving forward.

As you can imagine, I am now a life-long customer!

Why am I sharing this today?

The first reason is obvious: Good customer service is vital for any business, and small businesses often do it better than mega-businesses. As artists, we need to understand this, too. I’m not suggesting you overwhelm your collectors with free epoxy. I mean, art. But when something goes wrong, I do my best to make their experience as positive as possible. Listening carefully, sorting out the options, and making things right.

The second is just what I’m doing here: Sharing my powerfully-positive experience with you. Letting you know that, whatever your need for epoxy, this is a company who stands behind their products. They want to know if you have a problem, and they want to help you fix it.

And your experience is something you can share in your email newsletters.

A lot of artists subscribe to my blog and newsletter, and of course, to Fine Art Views. Sharing what manufacturers you can trust is a gift to them. For my collectors, they may benefit, too. But it also shows them I really get what great customer service looks like.

Sure, there will always be that rare client who we can never make happy. And I sincerely hope you don’t buy some J-B Weld epoxy just so you can complain and ask for a box of more epoxy, free.

But they reached out to me, quickly, with full support. They believe in their products, and acted accordingly.

Just as we do the best work we can, and work to fix it if something goes wrong, with our own collectors.

And that’s the third reason to share: Do we want our customers to complain about how we handled an issue? Or do we want them to sing our praises?

We can share our own story/stories about how we created the perfect experience with a customer, or we can share our own personal experience, like the one I had with J-B Weld.

So today, I’m giving a shout-out to Chris Fox at J-B Weld (thank you, Chris!), who figured out what the problem actually was, so I can move forward.

And you get yet another idea of what to share in your next email newsletter!

Your shares and comments are always welcomed!

Share this Fine Art Views article, or view more like it my blog at luannudell.wordpress.com.

If someone shared this article with you, and you’d like to read more in this series, visit my articles at FineArtViews.com.

NEWSLETTERS 101: #20 Share the BIGGEST Gift of All!

Otter's story is a good one for 2021!
Otter’s story is a good one for 2021!

NEWSLETTERS 101: #20 Share the BIGGEST Gift of All!

This post is by Luann Udell, regular contributing author for FineArtViews. She’s blogged since 2002 about the business side–and the spiritual inside–of art. She says, “I share my experiences so you won’t have to make ALL the same mistakes I did….”  For ten years, Luann also wrote a column (“Craft Matters”) for The Crafts Report magazine (a monthly business resource for the crafts professional) where she explored the funnier side of her life in craft. She’s a double-juried member of the prestigious League of New Hampshire Craftsmen (fiber & art jewelry). Her work has appeared in books, magazines, and newspapers across the country and she is a published writer.

What a Disney movie did to lift my heart!

(8 minute read) (Spoiler alert! If you haven’t seen Soul yet, wait to read this til after you do!)

 In last week’s column, I shared why sharing a family tradition (or one we’ve modified) can show our audience our human side.

For today’s column, I thought about discussing New Year’s Resolutions (which I rarely make, and keep even less.)

But instead, I’m sharing what I realize is the greatest gift of all:

We’re here, right now. Alive!

 Enjoy every moment, and look for the tiny little miracles that are EVERYWHERE!

Sorry/Not sorry for yelling. I’ll back up a bit. This came from a lot of ‘little thoughts’ that piled up into a massive mound this past week.

A few days ago, I was thinking about how desperate we all could be about sales.

Like it or not, “sales” is a powerful desire and goal for almost all creatives. I’ve always advised against pursuing sales as the only measure of our success. (I could create an entire series with the articles where I’ve mentioned Thomas Kinkade!) But we can’t help wishing and hoping to be successful with our creative work, and strong sales are hard evidence our work is popular.

Unfortunately, as you know from how many times I’ve mentioned Vincent Van Gogh’s work, we may never truly know how others will value our work. And being famous after we’re dead is…well, a nice thing to hope for, but we’ll never know.

Exactly how did “famous artists” in the past become famous? They had collectors with the money and the means (and the beautiful spaces) to purchase and display their art. And eventually, those works made it into museums around the world, “proof positive” that these were, indeed, great works of art.

But what about the artists who didn’t have that kind of audience? At first I thought of the work that wouldn’t even make it to any market: Artists of different cultures, different races, etc., especially those deemed “primitive” in nature. Then I thought of women artists, who were—and still are—under-represented in museums, art history, and even galleries today. Soon I was a little embarrassed for wanting fame and fortune, when so many people may have never had the chance to make their work, let alone show it, let alone sell it.

Even those artists who did make the cut, what about those works of art that never survived into our times? Entire cities, cultures, etc. were destroyed by fire, war, famine, pestilence, volcanoes. Cave art wasn’t a thing until Alta Mira, a prehistoric cave full of beautiful images of animals, was discovered in 1868. Even then, it aroused no curiosity for another decade, and it was actually Maria, the 8-year-old daughter of the caves owner, nobleman Marcelino Sanz de Sautola, who discovered the beautiful artwork within. (And even then, the work was often dismissed as modern forgeries by gypsies, until more caves were discovered in the early 20th century.)

Even then, such artwork was again dismissed as “hunting magic” by modern “experts”, whose unconscious bias limited their understanding of what was right in front of them. This bias continued. Mary Cassatt was a “real artist” whose work took a long time to be classified as such. In this article, the author says she had three strikes against her, “…her gender, her foreignness (she was an American living in France), and her reputation as a painter of motherhood.”

Even if we do achieve a decent reputation, a strong audience, some good sales, does that seal our fate? Nope. I can’t find this artist for the life of me, but one session in my art history classes in college focused on an extremely successful Victorian artist, the Thomas Kinkaid of his times, whose popularity tanked soon after he died. Too sentimental, too trite, did not stand up over time. (Could it be this guy?)

In our modern times, with a changing-for-the-better consciousness that all people matter, that all people have creative talents of some kind, that we all yearn to be “seen” in the world, and especially in this year of pandemic and unrest, how do we pursue our goal of being a successful artist?

I went to bed too tired, too sad, on a dark Christmas Eve, without an answer.

Until Disney+ tossed its newest Pixar animated movie, Soul, into our lap on Christmas Day.

I’d read a review that considered it “meh”, but for some reason, it still called to me. It’s about a musician, a music teacher, who’s always dreamed of making it to the big time, who finally gets his chance…

And falls down a manhole and dies. His soul is desperate to find a way to ‘go back’, to get the opportunity to realize his dream-of-a-lifetime.

In his efforts, he crosses the path of Soul 22, who has refused all efforts to get her to live a life on earth. Her cynicism is impressive! Even the souls of Mother Theresa, Abraham Lincoln, Mahatma Gandhi, and many others can’t encourage her to even try.

After many failed attempts to not only recapture his own life, but to encourage hers, a tiny miracle happens.

Let me repeat: A tiny miracle.

I found this beautiful quote in an article about Soul today:  “Instead, Soul was left to be about the little moments that make up our lives rather than where we end up, and that’s ultimately what makes the movie resonate so well.”

My own greatest joy comes in persevering until I find a solution to whatever is blocking my way. I keep track of my progress in my notebooks and journals, capturing the tiny moments of joy and wonder I encounter in my day.

When I write my way through episodes of despair, when I find myself at the mercy of destructive, negative people, when I begin to doubt my own worth in the world, my gratitude list lifts me up again.

Those tiny moments add up!

When I make my work, I feel my purpose. It’s to share what I find beautiful in the world. To share where I’ve found meaning, solace, peace in my heart, if only for a moment. And it’s so easy to do that today! A quick photo, a caption, a few tags on Instagram, and my insights go straight to my artist-and-writer page.

I find as many ways as I can (writing for Fine Art Viewsmy blogTwitterFacebookmy email newsletter, etc.) to share what I’ve learned, what has lifted me, with others, quickly and easily. (The gifts of social media, when used as a force for good in the world!)

And you can too! Include your audience in those moments of inspiration as part of your marketing process. Sharing those moments of light, beauty, awe or sorrow will also help to connect your art with others.

Including these shares in our newsletters — whether it’s posting an image of our latest work, or writing about a flock of snowy egrets catching a random ray of sunshine, silhouetted against dark and stormy clouds, or including these moments on social media –is not only a gift to others, but a great marketing tool too.

When we make the work of our heart, we are lifted, even if just for a little bit. When we share it with others, maybe their hearts will be lifted, too. Whether they buy it, or share it with others, the ripples in the pond of life continue.

More than this, we can’t expect, nor count on.

In closing, a dear friend and I talked together on Zoom recently, soon after watching SOUL. She was struggling with her own “next steps”, what would get her to her goals, and I felt so helpless regarding advice. Fortunately, it turns out she didn’t really need advice. And she is already so many steps ahead of me!

One little (hah!) story she shared with me: She has a school history and a longtime interest in ecology, and she loves going for long walks, being immersed in nature and all its wonders.

Over time, she realized that on every walk, at some point, a tree would “wave” at her.

It could be a branch, a twig, sometimes just a single leaf. But it was independent of any noticeable wind or animal action. And she began to wave back.

Just a tiny wave, so if she weren’t walking alone, her companion wouldn’t notice.

Because who waves back at trees, right?

It hit me. There’s a powerful moment in SOUL that involves a tree. An insignificant, perfectly ordinary moment, actually less than a minute, that changes everyone. And everything. Something I’m betting every single one of us has experienced at some time in our walks and travels.

I told my friend about this moment, without giving away what it was, and encouraged her to watch the movie. She did. She cried. And she was happy again.

This year, make your art, especially if it makes you happy.

This year, share your art, because it will make others happy.

This year, pursue your goals, but don’t let them define you, or limit you in any way. Don’t worry about being “good enough”.

We are enough.

This year, live your life. Live it fully. Live it deeply. As my little animal artifact Otter told me many years ago…

“Oh, be joyful! Play! Enjoy every moment of this amazing life.”

 Oh, and this morning, I looked to see if a tree were waving at me. One did, but it was because it was full of two different flocks of birds, finches and Brewers Blackbirds. So maybe it was waving, but maybe it wasn’t.

But I waved back anyway. And somehow, I felt a little happier.

Your shares and comments are always welcomed!

Share this link FineArtViews.com or view my blog at luannudell.wordpress.com.

If someone shared this article with you, and you’d like to read more in this series, visit my articles at FineArtViews.com.

NEWSLETTERS 101: #19 Share a Family Tradition!

I did get a LITTLE work done in my studio today. Found the perfect bear for my newest restored-box shrine!
I did get a LITTLE work done in my studio today. Found the perfect bear for my newest restored-box shrine!

It’s been a funky day-before-Christmas, to be sure.

My partner and I are in the middle of a huge spat. (No worries, we’ve been doing this for decades. Neighborhood friends nicknamed us “The Bickersons” almost 40 years ago!)

I finally pulled out and went to my studio, my always-happy place. Twenty minutes later, I got a call from Jon. He’d left his wallet at the supermarket, could I drive him there to get it? (No driver’s license.) No luck. But when we got home, ready to call and cancel all our credit cards, he found his wallet. On his dresser.

Grumbling, I drove back to my studio. But I could only get a little work done before the cold and the dark got to me, and so I headed home again.

I’m sitting here, trying to think about why this hardly even seems like Christmas. Aha! Covid-19! No parties. No Yankee Swap, our biggest, most memorable Christmas event. Our Christmas tree was so last-minute this year. I wasn’t even going to get one, but Jon wanted a tree, so I got a tiny one. Then I couldn’t find my ornaments. It’s decorated with some small thrift shop finds, cat toys, a box of Christmas cards I found at the thrift shop (puppies in Santa hats) and colorful fabric masks….

Okay, so this will be a Christmas-to-remember-for-all-the-wrong-reasons. On the other hand, it inspired this article, so here goes!

All through my childhood, I wanted to open a present on Christmas Eve. It was a hard NO growing up. So guess what Christmas tradition I started with OUR family?

Yup. We all got to pick one present to open on Christmas Eve! It was great!

My husband’s father was Jewish, his mother was Catholic. Actual religious practices were few and far between, but our daughter is none-the-less very proud of her Jewish heritage. So I bought her a dinosaur menorah I found on Etsy a few years go. She loves it!

No Yankee Swap. In past years, this was quite the occasion. Everyone brings an unwanted gift, a White Elephant, (undamaged, not used, etc.) wrapped and beribboned, and placed it under the tree. Then everyone picks a number from a hat/bowl/bag. #1 person picks a gift and unwraps it. #2 person picks a gift, then gets to choose whether to a) keep it, or b) swap with person #1. #3 person does the same, only they can swap with anyone who already has a present. Obviously, the best number to get is the last one! And it’s amazing how someone’s White Elephant is exactly what someone else will love.

It’s also good for everyone to have plenty of Gary Spykman’s handmade “spoonable eggnog” (recipe at the end) because sometimes fights break out. (Well, not FIGHTS, exactly, but just sayin’, don’t get too attached to your gift!

And of course, my Grandma Paxton’s yummy iced brown sugar Christmas cookies. They are the best!

In another family we’ve known for years, everyone gets new pajamas, and wears them on Christmas Day. (I can’t remember if they were matching pajamas??)

A friend told me how their family would go to movies on Christmas Day. (Movies! In a movie theater!)

Why would you share this in your newsletter?

Because regardless of religion, region, etc., holidays are a time for family-and-friend gatherings. In the best of circumstances, there are plenty of laughs and hugs, joy and eggnog (LOTS of eggnog, and don’t forget the brandy!) Being human, there might also be lots of spats and tantrums, sadness and envy, some disappointment (DO NOT GET YOUR PARTNER A VACUUM CLEANER FOR CHRISTMAS!).

There are loved ones who will be missed, for this year, or, sadly, forever.

Family traditions can be sweet. Simple. Complex and frustrating. Unusual. Fun. Embarrassing. (Mistletoe? No thank you!) Informal. Or scheduled down to the last minute.

Sharing a family tradition in our marketing newsletters allows our audience a little peek into our life, outside of the art we make. It reminds us that we are connected in all the subtleties of being human…and that we are not alone.

Of course, we can also share a funny pet story, or a beautiful sunset, or a moment of insight, as I’ve suggested in this series.

But if you get a kick out of our Yankee Swap party, or fall in love with Gary’s eggnog, or find a new passion with my Grandma’s cookie recipe (which I’ll post on my blog), imagine how YOUR audience will feel!

SPOONABLE EGGNOG BY GARY SPYKMAN (Note: If the name sounds familiar, Gary is the person who taught me how to clean, repair, and restore antique and vintage wood boxes for my Shrine Series, and offered me the use of his studio, his toolks, and his expertise to make them! You can see his work at his website:  Spykman Design

This will put a little (or a lot of) Christmas Spirit(s) in you! Thick, rich, potent… irresistible!


4 eggs, separated
2 cups heavy cream (whipping cream)
1/2 cup sugar
1/8 tsp. salt
1/2 cup top-shelf rum or bourbon (really, the good stuff)
1/4 cup brandy
whole nutmeg

You’ll need three mixing bowls for this.
Bowl #1: Beat egg whites until stiff.
Bowl #2: Beat egg yolks, sugar, and salt until thick and lemon-colored, stir in the booze.
Bowl #3: Whip the cream.
Gently fold the egg yolk mixture into the whipped cream, then fold in the egg whites.
Chill for an hour or two.
Scoop into individual cups, grate fresh nutmeg over the top, and serve with spoons.

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GRANDMA PAXTON’S CHRISTMAS COOKIES

1 1/2 c. brown sugar

1 c. butter

2 eggs

4 TBS. sour milk (you can add a teensy bit of vinegar to get it ‘sour’)

1 tsp. baking soda

1 tsp. baking powder

1/2 tsp. salt

1 tsp. vanilla

4 c. flour

Preheat oven at 350 degrees

Cream butter and sugar.

Add eggs and vanilla.

Combine dry ingredients. Add alternately with milk.

Roll and cut cookies on a lightly-floured surface. (Keep your rolling pin lightly-floured, too!)

Bake about 10-12 minutes, until lightly browned.

FROSTING

Beat 2 egg whites till fluffy. (My recipe says you may need to add cream of tartar, but I’m not sure why…?)

Add enough powdered sugar to make stiff frosting.

Spread on cookies and decorate!

****************************************************

Your shares and comments are always welcomed!

Copy this link FineArtViews.com to share, or view my blog at luannudell.wordpress.com.

If someone shared this article with you, and you’d like to read more in this series, visit my articles at FineArtViews.com.

NEWSLETTERS 101 #18: Love (and Art) in the Time of Covid-19

Bear tells me, "Be strong when things get hard. Listen more. Think slow. Love deep." Perfect advice for 2021!
Bear tells me, “Be strong when things get hard. Listen more. Think slow. Love deep.” Perfect advice for 2021!

There’s no perfect way to get through 2020 and beyond. So just do what works for YOU! 

(8 minute read)

I’ve never sought out positions on boards or steering committees, despite being involved with quite a few art organizations in my life.

I don’t have a “head” for leadership. I hate bossing people around. I mean, I love having my own way, but when I think I know what’s best for others, I fail miserably.

But over the years, I have volunteered for many these same orgs. Oh, I’ll complain along with everyone else about rules and regulations, how things are done, etc. But then I realize that the best way to find out the WHY is to join that committee, and learn.

I love peeking behind the curtain to see what’s going on!

It’s tempered my entire approach about shows, galleries, art groups, organizations, etc. And it also gives me a new perspective about the people who complain, but never take the time to find out WHY.

 My all-time favorite was sitting next to another fine craftsperson at a gathering during a major show, and listening to them complain non-stop about the committee I served on. After addressing almost all of their complaints, with the stories behind the decisions, I said, “Hey, you should join us, maybe you have some great suggestions for us!” (I said this with a straight face, too.)

They said, “How much do they pay you to serve?”

I nearly died laughing.

Apparently, it had never occurred to them that committees in art organizations are rarely, if ever, compensated for the dozens, or even hundreds of hours they put in, as a volunteer.

This year, despite my misgivings, I did join as a member of a steering committee. I’ve been given a relatively-easy committee to head, one that I actually might be okay with.

It was eye-opening on so many levels.

First, I was truly impressed by the quality of work this group does to pull off some pretty major events here in Northern California. I couldn’t believe all the details, permutations, roles these people played, how well they remembered every step of the process, and how quickly they reviewed and updated them.

Me? I forgot this article was due yesterday.

 I couldn’t help wondering what I brought to the table, if anything.

I soon found out. I had to take part in a phone tree to make sure artists had gotten the invitation to participate in our next event, an open studio tour mid-year, in 2021.

I hate making phone calls. I don’t even call friends or family members. (I just found out this year this is a major sign that I am an introvert at heart, though I can fake extrovert for short periods.)

I didn’t know what to expect, but I got the whole gamut of responses.

This year’s event had been cancelled shortly before it took place, due to (duh) Covid-19. Every effort was made to offer refunds for those who opted out, and a lot of planning and work went into making it a virtual event. An entirely new website was created, the event was pushed back and combined with a similar event. I was asked to volunteer with that, and put in easily 50 hours of work.

I made zero sales. I did two more virtual events that same month, and they all tanked for me.

Many of the artists I called had had the same experience (without the volunteer time.) Some accepted the new normal going forward. Some weren’t sure if they were willing to commit. And a few were quite angry over how this year’s event (that was cancelled) was handled.

I get it. I really do. And yet…

I chose to look at the gifts instead of the loss.

 Years ago, I did some major wholesale and retail high-end craft shows on the East Coast. I knew I had to put in a few years for each one before they would pay off.

But first came 9/11. Sales tanked for everyone. And every year after that, it seemed like a couple months before that show, we would invade some country in the Mid-East. I barely paid for my expenses. My last year, all three major wholesale shows tanked and I was in debt up to my eyeballs.

It was hard. But I learned so much.

I learned that there is no guaranteed success with any business venture we undertake. Even my writing, which used to bring in $300-$450/per article, tanked. I now make about 10% of that, and most of those opportunities have disappeared anyway.

I learned it takes time to build an audience, even in “normal” times. My very first open studio in New Hampshire, with a prestigious art group, I had zero visitors. The second year I had one, a nice young man who was very stoned. We had a very nice chat. I hope he remembers that! The third year, my studio was packed every day, and I made about a third of my income from one event.

I learned that an event with a catalog costs a lot of money. In those days, before the internet became a key component of my marketing, I would place ads in magazines associated with those events. It cost a minimum of $350 for one quarter-page ad, in a magazine that had a shelf life on 1-4 weeks.

So when I learned that a catalog accompanied my participation in this event, for the same money, a ‘magazine’ with a shelf life of a YEAR, I considered it a bargain.

 A great show/event catalog is worth its weight in gold.

 I’ve also learned that when we pay our fees, that money is used almost instantly to pay for all the resources: Design work for website modifications and ads and the catalogs, salaries (salaries for non-profits are usually at below-market rates compared to commercial businesses), etc. When an event is cancelled, the org does not get that money back. Design costs alone for this year’s catalog were almost $10,000, not including printing.

Our org has learned what works and what doesn’t with this process. Everyone involved has worked really, really hard to not only keep the organization going (which supports so many different kinds of creative work), but to improve the experience for its artist members.

And here we are today, at Fine Art Views, which dedicated all its efforts towards assisting us with the “new normal” and focusing on social media marketing.

It can work. For one thing, I had an uptick in sales in August, a very nice uptick. I couldn’t figure out where they came from, as none of them came through any of the online events. All of them came from my Etsy shop. Finally, I realized they were from my audience in NH! I haven’t been back in person to do the show. But since the entire show was virtual this year, I was at the same “level” as everyone else. I am so grateful to the League of NH Craftsmen!

In short (I know, it’s too late to make this short!) things are different. “Sure things” aren’t solid right now. Sales are off, it’s hard to connect with people/customers in person, and we all hate the loss of paying customers, and hate not knowing how, or when this will all get better.

But in a way, my life as a creative has ALWAYS been all over the map.

I’m grateful these art orgs are trying to stay in place, so they can be a support and outlet for us. I’m in awe at the people who work so hard to keep us moving forward, from a non-profit’s show committee, to the team at FASO.

I’m grateful I have an online shop, my own website, and system for marketing my art online.

I’m proud to be contributing to the safety of our country and part of a culture that values customer safety over profits.

I know if I can’t sell my work, 10,000 years from now, archeologists will have a blast when they unearth my studio.

I feel lucky that I still have a studio to go to, especially during these dark cold winter months.

And I am grateful that I can still make my work, because it brings me joy when I finish my latest projects.

As I shared some of these insights I’ve had over the years, many people softened re: their anger, their fear, their uncertainty. (That, or I bored them to tears and they said they’d consider joining just to get me off the phone!)

What are YOUR tiny blessings you’ve found in the moment? What have YOU learned in a lifetime of making your art? Doing shows? Sharing your art with the world?

What have YOU done to show your appreciation for what others have done for you, and for your passion for making art?

What are YOUR hopes and dreams for 2021?

If you enjoyed this article, if you enjoyed this article, share it! Link back to it here on Fine Art Views, or my blog at luannudell.wordpress.com.

If someone shared this article with you, and you’d like to read more in this series, visit my articles at FineArtViews.com. 

NEWSLETTERS 101 #17: Share an “Aha!” Moment

My biggest "aha" moment was what put me on the path to becoming a "real" artist. Still powerful. Still works.
My biggest “aha” moment was what put me on the path to becoming a “real” artist. Still powerful. Still works.

NEWSLETTERS 101 #17: Share an “Aha!” Moment

This post is by Luann Udell, regular contributing author for FineArtViews. She’s blogged since 2002 about the business side–and the spiritual inside–of art. She says, “I share my experiences so you won’t have to make ALL the same mistakes I did….”  For ten years, Luann also wrote a column (“Craft Matters”) for The Crafts Report magazine (a monthly business resource for the crafts professional) where she explored the funnier side of her life in craft. She’s a double-juried member of the prestigious League of New Hampshire Craftsmen (fiber & art jewelry). Her work has appeared in books, magazines, and newspapers across the country and she is a published writer.

Was there a moment when everything changed for you? Share it!

(4 minute read)

One of the taglines in my Fine Art Views (and elsewhere) is this:

“I share my experiences so you won’t have to make ALL the same mistakes I did….”

Yep, I’m hoping it made you laugh a little. But I am also here to reassure you, that when we have our own “aha!” moment, aka “the Eureka effect”, that miraculous gift of insight where we see what’s really going on, what the solution is, how to move forward from a stuck place, it’s good to share it.

It may be just what someone else needs to get out of a hole today.

Here’s one of my favorites I love to share. It’s about fear. How fear can dominate our lives, inside and out. How it can paralyze us.

And ironically, how shallow it can really be. (Yes, pun intended!)

This story is over 15 years old, and the fear I described was already almost 15 years old. If my husband hadn’t cajoled me to take a dip in the lake on that hot summer day, I might still be holding that fear in my heart.

My intention in sharing this story was to encourage others who are in the same boat. Paralyzed with fear, palpable fear. Impossible to ignore. Only “diving in” (figuratively and literally!) helped me get to the bottom of that scary lake. (Again, pun intended.)

As I linked to the Dublin Lake story, I found another related story in the sidebar, entitled “Breakthrough”. Here is where a bunch of fears, and one random comment, came together into one beautiful solution.

Now my latest insight, that came from revisiting my old blog, today:

Radio Userland was an early blog hosting site (now-defunc) site. I wrote on it from 2002 to mid-2007. (I couldn’t even access it for ages after I left, until my techie husband recoded all the urls into something I could get to easily.) (Thank you, sweetie/love of my life!)

In five years, I got maybe three comments. THREE.

Was it because I was a terrible writer? Or an uninteresting writer? I’ll leave that for you to decide! But I do know the platform had its drawbacks, for me.

It was hard to comment. I don’t even know if I could have responded to those comments. I had no way of knowing how many people visited my blog. I never thought to ask the ones that did, to share it with others.

So: No comments. No likes. No way to measure “hits”. No way to know if anyone ever even read anything. No way to know if what I wrote, helped someone else.

And yet, I wrote. I process hard places in my life, through writing. So I wrote for myself, first. I love having had all those ‘lessons learned’, insights, and free advice.

I love it when I come across them again.

Because I still need them.

As a good friend said a few years ago, “I love all my life lessons! I love them so much, I learn them again, and again, and again.”

And when I share them with the world? Priceless. As in, “free” because you get to read them here at no cost to you.

And “priceless” as in “powerful”, as in “if it helped me, and when I shared it, it helped you, then that has incredible, endless value.”

Is it coincidence that I had this realization so soon after last week’s article, on how the numbers ultimately don’t matter?

I don’t think so.

So consider sharing an insight that helped you move forward in life. An insight that helped you find your way in the dark, towards the light, and a mug of hot milk.

If it helps even one of your subscribers do the same, well, that’s pretty cool.

One suggestion: Stick with the positive, or at least end on a positive note. Not all life experiences are good ones. But when we learn something fundamental, something beautiful because of them, that inspires hope.

Of course it okay to share something we’re struggling with right now, too: Health issues, difficult life events, etc. Believe me, if you’re going through something really hard, someone else out there is, too.

And it’s okay to just gritch now and then. (That’s a word from an old high school friend, a blend of “gripe” and “bitch”, and I love it almost as much as “blort”.) In fact, it might be an opportunity for readers to make suggestions or express sympathy, which may or may not help.

But just knowing they care can mean a lot to us, too.

But don’t be too much of a Debbie/Danny Downer, either. Yeah, we all have our moments, but we also all have enough on our plates.

What is one of YOUR favorite “aha!” moments? Try it out on us, in the comments!

If you enjoyed this article, if you enjoyed this article, share it! Link back to it here on Fine Art Views, or my blog at luannudell.wordpress.com.

If someone shared this article with you, and you’d like to read more in this series, visit my articles at FineArtViews.com.

NEWSLETTERS 101 #16: The Numbers Don’t Matter!

If I measured my success by how fast my work sold, I would be at zero. One of my best pieces didn't sell until the month before we left for Cali.
If I measured my success by how fast my work sold, I would be at zero. One of my best pieces didn’t sell until the month before we left for Cali.

NEWSLETTERS 101 #16: The Numbers Don’t Matter!

Do what you love, share what you want, and put down the measuring stick.

(4 minute read)

 In last week’s Fine Art Views article about possible newsletter topics (sharing our resources), I mentioned Thea Fiore-Bloom, PhD’s website, which is where that idea came from.

I ran the article by Thea first, to make sure I got it right. She mentioned she was inspired to create a resource page by another artist, Sara Paxton, whose most popular post was about how to speed up the drying time for oil paints. Which is logical and inspiring, right?

But my most popular post was about repairing a huge chip in my spongeware bowl with polymer clay.

And Quinn McDonald, a highly-respected artist/writer/life coach/corporate trainer? Her most popular post was about how to cook steel cut oats faster in the morning.

Irony: Last week’s post also had one comment. One. Comment.

But then I had more than half a dozen responses, from people who a) subscribe to my blog, where I republish my FAV articles; and b) got my newsletter referencing that article, with a link to my blog.

That number of responses is new for me, in a good way. My subscriber numbers are big-ish, but nowhere near “influencer” levels.

Until Thea told me THE NEXT DAY that her website visitors hit almost 1,000, resulting in a ton of new subscribers to her blog. She made a guestimate about the number of people who’d probably READ my article/blog/newsletter, but didn’t ‘respond’, and estimated I am truly at those ‘influencer’ levels. Which is….stunning.

The moral of this story is, numbers are everything. And…nothing.

 Sometimes our ‘most popular’ numbers can reflect our true audience.

Or they can have nothing to do with our true audience. (Trust me, Quinn has given the world huge gifts over the years, and cooking steel cut oats is not her greatest legacy. Not in my book!)

Sometimes our numbers can seem so abysmally low, we question our own worth.

And 24 hours later, we see the actual impact we have in the world.

Or not. As I’ve said so many times in my articles, we do the work of our heart because it matters to us.

Then we put it out into the world, whether by selling, teaching, or sharing on social media. This is the proverbial toss-a-pebble-into-the-pond, not knowing where, nor how far, the ripples will go.

Money is lovely (yum!) and numbers can be reassuring. But they are not the only measure of our success, with our art, with our influence, with our lives.

Case in point: There’s one reason I now love to attend memorial services for those who have passed on.

It’s the stories people share about that person.

 A funeral service draws people from every stage and arena of our life: Family, relatives, groups (neighbors, co-workers, customers, fellow church members, etc.) If they’re well-known, or even famous, even people who never knew them in person, may have a story.

And when they share their memories and stories, we have a peek into a life we never fully knew, or appreciated, or understood. We see moments of kindness, generosity, humor, and grace.

Even then, we still won’t know the whole story.

 Because…that’s life. Even we can’t see our whole story.

 When we rely on pure metrics, it can muddy the story.

 In fact, when I looked up metrics, I found this:

met·rics  /’metriks/

noun 

1.     the use or study of poetic meters; prosody

2.     a method of measuring something, or the results obtained from this.

Do you see it?

The first definition is a form of art.

How do we measure our art?

How do we measure our worth? Our life?

How do we measure the impact we’ve had on others? Whether the good we do outweighs the mistakes we’ve made, the hurt we’ve caused, the things we’ve left undone and the things we ought NOT to have done?

We can’t.

We can only do our best, with all our heart, and let the rest go. Make amends as we can. Try to better. Help others do better.

Social media and social media marketing has been a game-changer, especially during this pandemic. It allows us to stay connected, and create connection, despite everything.

But how we measure our ‘success’ with that, is another matter altogether.

If you enjoyed this article, if you enjoyed this article, share it! Link back to it here on Fine Art Views, or my blog at luannudell.wordpress.com.

If someone shared this article with you, and you’d like to read more in this series, visit my articles at FineArtViews.com.

NEWSLETTERS 101 #15: Share Your Resources!

I'm sharing this for all my studio visitors over the years who ask me if I actually work in my studio space. Mmmmm, yup!
I’m sharing this for all my studio visitors over the years who ask me if I actually work in my studio space. Mmmmm, yup!

NEWSLETTERS 101 #15: Share Your Resources!

Help your readers take a step forward, just like someone did for YOU.

(4 minute read)

 In last week’s Fine Art Views article, I wrote how the gift of laughter is a precious commodity in our world right now, and how easy it is to share. This week, let’s talk about sharing what’s helped US move forward, in our art and in our lives.

Today, let me share another writer/artist from the FAV team, Thea Fiore-Bloom, PhD, creator of The Charmed Studio blog. I first met Thea through her Fine Art Views columns. (Actually, Thea just reminded me that our paths crossed years ago, before either of us wrote for FAV! Thank you for the memory reboot, Thea!) I found articles both endearing and powerful. She gets right to the heart of what she writes about, and all of it is geared to helping artists and writers get better at writing/making.

But what really blew my mind was her website.

It’s not just filled with generous helpings of articles, offering insights for creatives.  She also shares links to websites and articles she’s found to be game-changers. She’s opened a window on how we can create more powerful and connect-able blog posts and newsletters. (Disclaimer: I just found out I’m on her resource page! Thank you, Thea!)

The generosity of this, Thea sharing what’s worked for her, is a game-changer in and of itself.

I’ve written blog posts of how-to’s in the past. Some of them I published, others languish in the sea of forgotten ideas. But after discovering who Thea is at heart—authentic and generous—I find I now want to follow her example.

I’ve given little ‘peeks’ into my process from time to time. Lately, I’ve gone a little deeper. On Instagram (which reposts to my Facebook biz page, Luann Udell, Artist and Writer, I’ve shared more of my process (restoring vintage and antique wood boxes for my shrine series). A reader messaged me, asking me for my sources for these boxes, and I wrote a reply that will probably become a future blog post.

Why have I hesitated to do this in the past? Perhaps it’s the fear we all have, that someone will snag our ideas and make them their own. That someone will take our process and do it even better. That someone will gain more fame and fortune than we do.

But isn’t that what I’ve done? (Albeit on a good level of integrity.)

I did not invent my faux ivory technique. Tory Hughes, who unfortunately died in 2018, was a pioneer in exploring and creating imitative techniques with polymer clay: Faux ivory, turquoise, amber, coral, etc. Yes, I’ve made my own adaptations and created some of my own as well. I’ve taken it new, very personal level, too.

But I have always acknowledged Tory as my first inspiration and as a great resource for information. Now I’m realizing it might be even more inspirational to create my own Resources Page, to honor her memory, and those of others who have helped me ‘up my game’ over the years.

Also, in my humble experience, it’s really hard to exactly copy another person’s techniques. And it’s almost impossible to copy another creative’s story. Our energy is better spent on our work, and the knowledge that a copycat can’t create new ideas like we can. They can only follow, and therefore, will always be a step behind.

To reiterate: This isn’t about ‘having to share’ our ‘how’.

It’s about sharing what helped us get to where we are, today, through inspiration, clarity, insights, and okay, a couple trade secrets here and there, and/or acknowledging where we got OUR trade secrets from, especially if they’re actually public knowledge. Share a teacher, a class, an art organization, where we grew our own skills. Share the writing that inspired us, and kept us moving forward until we got where we are today—or will be tomorrow.

Be a big-hearted person like Thea. Share what makes you, YOU.

 Your words may help another creative person move forward with THEIR work, and bring light, and good, and joy into the world. What a beautiful gift!

If you enjoyed this article, share it! Link back to it here on Fine Art Views, or my blog at luannudell.wordpress.com.

If someone shared this article with you, and you’d like to read more in this series, visit my articles at FineArtViews.com.

And if you decide I would be a good fit for YOUR resource page/next newsletter, go for it!