creating your own PR department

Not too long ago, I had a public relations meeting. It was with myself, and we drank a cup of coffee and determined that since we can't afford a PR department, it was time to get serious about doing it ourselves. Publicity is one of those things where the more you have, the more you get. The first time I received some good publicity was back in 2004, and since then I've had a steady stream of press attention. But it's always pretty random and I have to wait for it. I never know where it's coming from or when I'll get more. In this, I'm kind of like a horny high schooler with no boyfriend. The goal is to be more like a popular cheerleader type with the football team following me around.

I've seriously considered hiring a publicist for my business. I even went as far as talking to a local public relations firm that specializes in working with small, art-based businesses like mine. They named a fee so high I actually considered paying it, I thought the sum alone would have to make it worth it. The problem is, no matter how much you pay a publicist, there is no guarantee that you will get the publicity you want. We've all heard "there's no such thing as bad publicity." That's bullshit, but what the artist has to think about is worthless publicity, publicity that does not generate interest or sales, especially when you paid for it!

I'm no marketing genius, but I'm sharing the list of things that my PR department needs to work on, maybe this stuff you need to work on too:

• Making an effective press packet: I've never had a press packet, but I've been thinking I need one since about 2002. It's a handy tool to convince editors and writers you have your shit together and ready when press comes knocking. Whether you have an actual physical press packet or a digital one, a press packet should contain:

1. Images of your current work. Rather than have a bunch of images of everything, it should be only your best images of your best work, and be representative of your overall body of work.
2. A clearly labeled list of the images, along with material, dimensions, price.
3. Artist statement. Every artist needs one of these.
4. Recent press clips, if any, including press releases.
5. Your artist resume. I thought I didn't need a resume because I just work for myself, but a resume explains your history of accomplishments and career trajectory.
6. A postcard and business card with ALL of your contact information.

• Milking the press contacts: Have you ever had a bit of press before? That's your first press contact, and it never hurts to send that person an email with images of new work. I have never once sent an email to the people who have written about me, asking them for more coverage. That's ridiculous. It's even more ridiculous when I consider that I almost spent 9 months studio rent to have someone do it for me. Bringing another high school analogy back, it's like waiting around for the hot guy to ask me to prom when I can just invite him to the Sadie Hawkins dance.
• Brand identity: The internet is choked with people who promise to help you with brand identity. The funny thing is their websites look awful, their exhortations are uninspired, and they all want money. I like this site and this site for free help, though there are paid options too. My own thoughts about brand identity are that you need to spend some time and/or money on business cards, post cards, and website so they look professional and like they are all part of the same family. Going deeper, your brand identity is also your story about who you are and why you make art. Why do you need a brand identity? Because when people buy your art, they are also buying a piece of you. Let them know who you are so that piece is more valuable.
• Better newsletters: It took me about over a year to get into the swing of writing my blog and figuring out my "message". I still have not figured out how to make a really great newsletter, though I am making progress with my new email service which has made it super easy to make it look pretty.

Having your own personal PR department, headed and run by only yourself is the reality of most artists. Take yourself seriously enough to do some work on PR, and let me know what you've done lately or what else should be added to this list!

choosing your online markets

I remember the days when online art-based markets were still starting up, and how exciting it was for me to find sites who wanted to represent my work. That was well over a decade ago, and the options were not nearly what they are today. Now, I get showered with emails from people launching online boutiques featuring handmade work who want to sell my work on their site. To be clear, I'm talking about sites that want me to drop ship single items for them when an order comes in, not buy wholesale from me and then sell on their site. It made me think about why I say "yes" to some people and "no" to most. Here are three things all artists should carefully evaluate before committing to any online market:

1. Design. Do I like how a site looks? When I am looking at an online store, I appraise it the same way I would a bricks and mortar store. The first thing I want to see is a store that expresses an aesthetic that reflects my design sense and will showcase my work well. Many sites look as if designer (probably the owner) used a template, giving sites a stale, dated look. It's on par with a boutique opening in an old Gap store and not changing the fixtures or display units. I also look at the other artists who are on there. I want to see work that reflects a high level of artistry and design that will elevate my own items. Sometimes when I check out these sites I see work that is in whole other world of craftsmanship and taste, which makes me wonder why the owners would think I would be a good fit for their store
2. Marketing. If a website launches and no one knows it, has it really launched? For an e-commerce website to be successful, a strong marketing plan must be in place. Twitter, facebooking, and networking with bloggers is a good start, but what else is in the works to get the site noticed? Marketing shows the level of commitment the owner has to the site and whether they have the time and the money to back the site up while they find their customers.
   
3. Pay to play? I don't think so. It rubs me the wrong way when a new e-store expects artists to pay to be represented on the site. Again, it's like opening a store, a store in a strip mall way out on the edge of town, and expecting your vendors to pay your rent. Why do I say way out on the edge of town? Because that's where most e-commerce stores are located in the public consciousness. There are some sites worth paying for, but with so many sites that are virtually free and get tons of traffic, there are only two reasons to pay for web representation: great exposure and/or great sales. I know site owners will say that their time and effort is worth something, and to that I say taking a percentage of sales is totally fair, up to 50%. I'm not handing money over to any website owner unless they have already proven themselves in the marketplace, and that takes their time, their dedication, and most importantly, their money. One online store asked me to be on their site and pay over a thousand dollars for the privilege. I refused, and they came back and said they would have me on the site for free. The sad thing is, I know other artists who foolishly paid the money!
   

You may wonder why careful vetting is important when you just want exposure and get your work out there. No matter where you are in your career, it pays to be choosy. Every single e-commerce site you sign up with takes precious energy. You have to send in current images and keep them updated, you have to check on the site to see how it's doing and keep track of communication, you often have to keep marketing materials that go with each order, and all of this takes up vital RAM space in your brain. If the site is successful and brings you sales, great, it's energy well spent. If the site brings you no sales, it's a drain on your valuable resources, resources that could be spent marketing your work on your own site.

baby, it's dark inside

I've been back in the studio after taking the month of January off. Friends keep asking me what I did in January and I'm like, "That's a good question. I have no idea." Aside from some pretty papercut projects and a clean studio, there is little evidence that I did anything. I went sailing, which is what this image on the left is. And should I have done anything beside just enjoying life? When one lives in a culture where time is considered money, laying around for a month could be considered an act of subversion, unless of course you are actively engaged in a vacation. That's okay. It's actually amazing how a whole day can be taken up with going to the gym in the morning, then having lunch with a friend in the afternoon. Poof, day is gone. The fact that I can use up a whole day with two activities like that is what tells me that I was actually born for a life of leisure.

Speaking of leisure, one thing that did happen is I bought a king-sized bed. My husband and I have been sleeping on a full for almost 15 years, and every time we stay at a hotel, I realize exactly how much space I'm missing out on at night. After much hemming and hawing, research, and procrastinating-- king size beds are expensive-- the bed was installed on our craigslist king frame. The only bed I've ever bought before in my life was a futon, about 22 years ago, which was cheap. Very cheap. In Oakland, and I'm sure in every city across the country, there are always futons up for grabs on the sidewalks. And in other places where you don't expect to find futons, like the park, floating in the lake, and by the side of the freeway, where I can only imagine they sailed from the back of some schmo's truck. Not that I would ever put claim on a street futon, I'm just saying that you can. They are everywhere.

The bed is ridiculously large, and to clothe it, I had to literally buy acres of sheets. The bed is so huge and takes up so much of our room that it is a little silly, and there is part of me that's asking why anyone needs a bed so large that a family of four could live on it. Comfortably. But when I get into it at night I stop asking those questions. I had a hard time sleeping on it at first because I'm used being right up against another body all night, and now it's like I'm adrift on a sea of bed, and I would wake up not knowing where the hell I was. Or where Andrew was. But like a lady of leisure who gets used to doing nothing all day, I'm now sleeping just fine.

Except for the other night, when I woke up at 3 am with the thought that I had totally forgotten an order, a special order in a special color that was to be a V-Day gift for someone. With that thought comes a surge of adrenaline, not a good thing at 3 am. The adrenaline gave me enough energy to start thinking about every other little thing I might be forgetting, and how screwed up it is that I'm forgetting orders at all. Which led me into thoughts about the way things should be instead of the way they are, and how the way things are is whittling me down to a business-minded craftsperson instead of an artist. Oh yeah, it got dark. By 4 am I was tossing and turning on my luxurious bed, convinced that any life was better than the one I had. By the time I fell asleep again around 5, I had dreams that I was running my studio out of my grandmother's bedroom... man, I don't even want to get into it, but I was a complete wreck by the time I woke up. I jumped up to check on that order, and as it turned out, not only had I already made that piece, I shipped it out back in December. You may think that would make me feel better, but I just questioned my sanity even more, and wondered exactly how much longer I would need to work before I can take another month off.

do it for me

First things first: check out this awesome full page spread of nation-wide press glory:Those of you who know me or read this blog and know what a vain bitch I am know I am loving this because I actually look damn cute. This is the first time I've looked cute in any press I've gotten, I usually look awful. It's amazing what soft lights, a clean outfit, and some make-up will do for you. Oh and yes, lots of people will see my pottery too, which is a pretty nice way to start the new year.

The slightly ironic thing about this press is that it is in this magazine called "DIY" which we all know means "do it yourself". I've been taking the last month off from making pottery and while I've been noodling around with my papercut projects and other little things, I've been realizing what an un-DIY person I am. I bought fabric to make new curtains for my bedroom and recognized immediately that my vision of curtains will never match my ability, so I sent them to my mother-- a master seamstress who made her own Calvin Klein knock-off jeans back in the 80's-- to make them for me. More evidence: I recently bought new sheets that came in this amazing, squared-off, un-recyclable, thick clear plastic bag that had a snap, and I'm looking at this thing thinking, "I could cover this with cute fabric and make this into the neatest little waterproof purse to carry my paintbrushes!" But I already know I will not get past the idea part. Even my papercut stuff, which I would love to frame and put up on my apartment walls, will probably end up getting dropped off at a professional framers because I won't get around to doing it myself, even though framing stuff is so easy.

People think because I'm an artist I would easily fit into the DIY ethos, but really, I'm all about DIFM, or "do it for me". I thought about how fun it would be to start a website where I could put up my DIFM projects, like this beautiful wood-framed stained glass bay window I want turned into a cabinet, which is what I think I had in mind when I bought the damn thing 14 years ago. People could apply to do the job, and I could choose people to make my projects for me. Perfect, right?

Just looking through this DIY magazine made me jealous and exhausted: create a pretty floor mat from linoleum, etch glassware to make them look frosty cold even when the liquid inside is not, paint your own headboard on the wall so it's not really a headboard, it just looks like one. All of these peppy people with these cute freakin' houses and all the special touches they did themselves, I could have that too, I just need somebody else to... DIFM! Then I could start a DIFM magazine and from there a whole movement could be born, with me at the top, filing my nails and checking my makeup for the next press shoot while someone creates a lampshade for me out of re-purposed vintage wallpaper and embroidery hoops. Sounds like DIY heaven for somebody else. I've never been short on ideas, only the drive to actually get them done.

new year, new me

I have been taking time away from my studio since the end of that period of time we refer to as the "holiday rush". Every year I am faster, better, and more efficient at getting my orders out, less stressed and pressured, which allows me a certain detached bemusement at the madness that surrounds Christmas. However, it is still incredibly draining, and I suppose there is a certain irony in the fact that with the extra money I make at the end of the year I have to use to take an extended vacation to recover from making all that money in the first place.

Ruth is gone now too, which while sad that I don't have my trusty studio sidekick to help me knock out orders, also gives me freedom to change things up at the studio. Don't get me wrong, I still need help, probably more desperately than I'm willing to admit, but I know I need a different kind of help now. For starters, someone who is not going to quit after a year or two. That probably means someone a little older, more settled, and just good with the hands, not necessarily an artist. And quiet. Know anyone?

With my time off I've been pursuing my major love for papercut art. I took an introductory papercut class last year where I was promptly overwhelmed with ideas to the point of paralysis. Unfortunately, as a beginner, I had little ability to render my ideas, so I gave up, that's exactly how impatient I am. My approach this time was to get some books, look at my favorite papercut artists, and just... go, no matter how much my work wasn't the way I really wanted it to be.
Then, I finally made something that didn't totally suck:
By the evening time, I finally made something I was proud of:

renegade craft fair- this weekend!

Have I mentioned I will be at the Renegade Holiday Craft Fair this weekend? In case you haven't heard, I will be at the Renegade Holiday Craft Fair this weekend. I think that's tomorrow. I know there's supposed to be a huge rain storm moving into to Northern California today, but you don't melt in the rain, right? And the show is moving from the dreaded (by me) Ft Mason to the Concourse Exhibition Center near downtown San Francisco. For those of you that drove in circles for hours last year searching in vain for parking, the parking situation will be better, and it's a 6 block walk from the Civic Center BART station. Bring an umbrella-- and cash! This is the only holiday show I do because it is really fun, the art and craft there is superb, and... it's really fun! Be there!

Here is a sneak peek of some items I will have on hand:

simple sell

Last week, I visited a local tech company to sell my stuff at their private holiday fair which takes place during the week at their campus. I won't name this company but it's probably the most famous tech company in the world. I know better than to do stuff like this but I was beguiled by the chance to check out this company up close and also to have a captured, employed audience. So I pack up some bins and haul them into the heart of Silicon Valley.

We've all heard tale of these fabled tech companies with their ping-pong tables, their arcade video games, their on-site massage therapists, their sprawling hang-out areas with comfy couches and bean bags, their bicycles and skateboards to get from place to place, their workers dressed in t-shirts, flip-flops, and jeans. Okay, it's all true. I was particularly impressed with the open cafe that had every form of caffeine you could possibly want, for free. Also, the bathroom, which had fancy Japanese-style toilets-- which I have a fetish for--and a pile of tampons. An employer who supplies its female workforce with tampons... interesting.

So, I'm all jazzed up, ready to sell. My table is adorable, and the other vendors are coming over and feeling up my stuff. The employees start streaming in, and... and... and... I get totally ignored. I stand there, look expectant and friendly-- not my natural look, it's an effort-- and people are passing me by. They are, in fact, going straight to the chocolate guy who is giving away free samples. I gradually deflate, get sad, then angry, followed by bitterness. I give up trying to look friendly. I sell a couple of things to other vendors, and finally beat it out of there.

I've been thinking about why what should have been a golden selling opportunity was just a total bust. I realized that I gave no forethought to the event, I just went in with my usual shtick and totally failed. Unfortunately I see this happen all the time to other people at shows and other selling venues. Here are a few things to think about as you think about selling at events, especially during the crazy holiday season:

• Think ahead of time about what environment you will be selling in: I was in a super high tech environment where people work 18 hour days, which is why this place serves up free food and caffeine all day, and provides beds disguised as couches. Many employees were carrying their open computers as they walked around, because they were literally working and shopping. These people are not going to stop working on a project for some leisurely shopping time, they have deadlines. They are the very essence of the distracted, short attention span audience. I'm used to selling to people who go out of their way to buy handmade items and are taking their time to browse and ask questions. These people didn't have time for that, and in that sense I was caught completely short.

• Think about the audience the environment creates: These were techie people, not arty types. And they were totally puzzled about what I was offering up, they couldn't make sense of what I had. They didn't understand that my nesting bowls are separate bowls and not one sculpture; they couldn't see that my poppy plates are functional for serving food; and they really couldn't figure out what the fuck a cupcake stand was for, (though I do display it with a cupcake.) And they weren't interested in figuring it out, they just "clicked" on to the next vendor. I thought I was doing what I was supposed to do by offering lots of choices, but I just confused people. They were less confused by the chocolate, the artisan olive oil, the knitted scarves, and the baby onesies, and they went and bought that stuff, leaving me in the dust.

• Then, spoon-feed: Do not make your audience think, that only gives them a chance to think of reasons why they don't need to buy what you have. This does not mean your product shouldn't be intelligent or you can only sell to stupid people. It means your customer needs to understand within about 2 seconds that they want what you have, and the transaction between wanting and having should be as easy and painless as possible. For example, price should always be front and center; people hate asking. The function of the item should be obvious, and if not obvious, demonstrated. Display should be orderly with like items together, people shouldn't have to hunt for that thing you're selling in a different color. I was asking my potential customers to engage with me, to really go through the work I had to offer and find something that they wanted, and that was asking way too much.

My own diagnosis: I was waiting for these people to come to me, when the only way to succeed with this crowd was to go to them, and hand over something that they could immediately hand over to someone else as a gift. I needed a very simple offering that was an immediately recognizable object, like a bowl or a vase. I needed a lot of these one or two items in a few different colors so these poor, overworked, distracted people wouldn't have to process a lot of visual information. And I needed a big sign that had the price, which should be around $38 for the kids who are still paying off student loans, and then $75 for the people who wanted to splash out a bit more. Then, I should have been giving away something, like M & M's or mini donuts, these people need sugar. And, an example of how this item would be packaged: a box, some tissue, a bow, a cute bag. I could have done gangbusters if I knew what I was getting into!