Deals and Steals

“What is the sale price?”

Often potential customers ask me for a discount or want to know when I will be running a sale. As a small business owner who does every single aspect of the business myself, I have come to realize that I am cheating myself when I give discounts to buyers. Even though my handmade pottery seems expensive and appears as if I would be making a small fortune, it just isn’t so. There are so many details that take time and so many hidden expenses that go into the making of my work that one might not realize. Each of my pottery pieces is made slowly and with care, and I handle each and every item countless times. Everything I purchase including supplies and shipping labels keeps going up in price significantly, and no supplier or the postal service ever gives me a volume discount.

“What if I buy a lot?”

Often people think a multiple-piece order deserves a discount. After all, the potential buyer would be making a big investment, and I am making a chunk of money, right? Though I so very much appreciate a large order and am honored and thrilled to make items that I know will become a part of a home, it actually takes me more time and attention to make a large order, not less. For example, if someone places an order for 8 plates, I will make at least 10 and will send the best of the bunch. With ceramics and pottery there are many many things that can go wrong during the many stages of the process, and I can end up with a bunch of duds or “seconds”. Pieces warp or crack. Glazes drip or craze. There is so much alchemy involved in the process. It is what makes handmade pottery so exciting and completely elusive and challenging.

Under-pricing is common for artisans.

When I was just starting to sell my craft, I went to a workshop and learned something very important; when a hobbyist artist (which I was at the time) undersells their work, it is unfair to all of the other artists who are trying to make a living off of their art. I immediately saw that in myself, but at the time, I was just so happy to sell anything and support my expensive hobby, I really didn’t account for all of my time or expenses. Now that I am spending much of my time creating pottery and am trying to make a sustainable income from it, I have had to take a hard look at what I charge.

“But it is so expensive!”  What goes into pricing.  

I think many people don’t understand all that goes into creating handmade work. It is understandable, because even I, the maker, had to come to terms with this. It is an evolution of learning for me, and it is more recently that I am realizing the multitude of factors that go into my pricing.

This post is to help others, makers and buyers alike, to understand both the costs for materials and the costs of time that go into creating. For me this is related to making pottery, but I imagine it would be much the same for any artist or crafter. My lists are long, but I am sure I have also forgotten to list numerous details.

What goes into the piece you receive: Time and Energy

  1. driving an hour each way to the clay store to purchase supplies which I purchase in bulk to minimize trips and to pass savings onto customers
  2. sourcing and ordering supplies on-line which I also order in bulk to pass savings on to customers
  3. organization and storage of supplies
  4. designing my work
  5. prepping work spaces and covering work tables with canvas cloth
  6. forming the pieces out of wet clay
  7. washing all of the tools used in the making process
  8. washing work table cloths and cloth hand rags
  9. returning to each piece to do “next steps” when pieces when pieces are leather hard- often this is several visits and handlings of each piece
  10. sanding bone dry pieces to remove rough spots (the worst job of all)
  11. loading the kiln for the bisque firing
  12. unloading the kiln and rinsing pieces of clay dust, then laying them out to dry
  13. managing, cleaning and organizing the studio
  14. recycling dry clay into usable clay
  15. putting screens on the windows in the summer and putting storms up on windows in the colder months
  16. moving out of the studio and into my basement for the depths of winter because in Vermont, no amount of heat is going to keep my little red barn warm enough
  17. making glazes- a long and messy process with lots of clean-up
  18. glazing- I hand brush each piece which takes a long time but gives lovely results
  19. wiping the bottoms of every piece to remove any excess glaze or the piece will stick to the kiln shelf and be ruined
  20. washing brushes
  21. reloading kiln for the glaze firing
  22. getting up in the middle of the night to check on the kiln when it is firing and baby sitting the kiln during its 13-22 hour cycle
  23. refraining from using any high powered appliances such as toaster, coffee maker, washer, dryer, microwave, and even running the water pump
  24. unloading kiln and carrying everything from the studio into the house
  25. adding details such as tags to botanical prints or wax in the holes of incense burners
  26. photographing the finished pieces
  27. editing photos
  28. creating new listings for new work
  29. updating listings for restock
  30. storing ready to ship pieces in a safe and accessible location
  31. carefully wrapping, boxing, writing a personal note, printing a shipping label to package orders
  32. cutting rolls of bubble wrap to appropriate size pieces to have ready
  33. driving to the post office with packages and standing in line to drop them off
  34. communicating with customers
  35. trying to maintain a website and social media presence
  36. collecting packing materials from local businesses that would otherwise go into the landfill. I do this both for ecological reasons and to save my customer money.

My costs for making pottery; Dollars and Cents:

  1. clay
  2. glazes, raw earth materials for making glazes
  3. kiln and maintenance of it
  4. replacement kiln shelves
  5. tools -some break, some wear down with use
  6. the studio building -taxes, heat, new roof, general repairs and maintenance
  7. electrical costs for running the kiln
  8. shipping materials, boxes, packing tape, scissors, bubblewrap
  9. computer, printer, printing ink, paper
  10. cost of USPS shipping label to mail items
  11. business insurance
  12. income tax
  13. fees to Etsy
  14. fees to the credit card company that allows people to pay me

Cycles and Resolutions

Another year comes to a close.  New beginnings abound.  Especially at the start of winter in Vermont when it is so often cold and dark, it’s a time for reflection,  wrapping up projects and thinking ahead.  I’m taking stock of all I’ve accomplished in the past year and thinking about my goals for the coming year.  

In my pottery business, I am always intending to write more blog posts and to be more active on social media.  These things don’t come naturally to me. It is one thing to be a maker (form pieces from clay, glaze it, fire it, photograph it, box it up, and ship it);  it is another thing to write about it and tell the story.

I feel pretty passionate about my work and running my own business from home. I was able to turn a favorite hobby into something that sustains me and brings joy to others. 

So my resolution for the new cycle is to share more about what I do and how I got to this point.  Just saying that makes my heart race.

End of an era: No Clay Play Camp 2018

 

After more than a dozen years of running Clay Play Studio Art Camp at my home and studio, it is time for me to change course.  My pottery business has been growing steadily in recent years, so it has gotten more difficult to move out of my studio for the camp weeks and not have use of my studio for much of the summer.

My hope is to offer summer workshops beginning in 2019, but for summer of 2018, I am going to immerse in my own clay projects and gardens.

I have truly enjoyed and appreciated all of the children that have attended year after year, and I will miss them and their wonderful projects.

Warm regards to all,   Nancy

Glazing Days

Glazing Days

24C87D7B-9BAB-4ABD-8659-C30CBC67EB70
I start out by laying all the pieces that I plan to glaze on my work table.

There are so many steps involved in making a piece of pottery.  One of the most important but often the most difficult is glazing.  It is art, chemistry and physics and I believe a bit of magic.  It is a part of the craft that often feels separate for me from the clay, and it is a bit scary too. I never know quite what I am going to get, and the opening of every kiln load is a surprise.  I have learned to roll with the punches, because that is a part of the process.  Often in the same kiln load I will have wonderful and terrible.  I may open to find one or more of the most beautiful piece and other pieces may have cracks and drips that leak onto the kiln shelves which then requires scraping and on occasion, putting the shelf into the pottery grave yard.

There are so many choices to make when glazing.  Just to have a collection of glazes takes a lot of experimentation and testing, as not all glazes fit with all clays.  If one shrinks more than the other, the piece breaks.  And there is temperature to consider, as glazes mature with different amounts of heat.

Today is a glazing day.  The studio is nice and warm from a glaze firing that is still in the kiln cooling, so that is a big bonus on a chilly and gray November day in Vermont.  The pieces that are in the kiln now were either orders or things that are easier for me to glaze.  Today I am faced with the pieces that require more artistic choices.  These are the pieces that I must get into the Zen of my work and channel my visions, because what is on the piece at the glaze state looks nothing at all like what will come out of the kiln after it is fired!

47EB2AF0-38C1-460A-A29E-26E8588DF410
I have a large collection of brushes because all of my work is hand-painted with the glaze.

CAC931DB-5972-4A7E-83FB-7A8E2BC983ED
The load that is in the kiln now. These mugs and other pieces will come out to be an assortment of colors.

Working with Queen Anne’s Lace



img_9900

Queen Anne’s Lace is one of my favorite wild flowers, and I often use it in my botanical pottery pieces. In Vermont, where the growing season is short, the Queen Anne’s Lace is starting to go to seed.  Though there has been plenty of time to work with this plant, my summer was quite full running Clay Play Camp and doing a myriad of other things, so I am feeling squeezed to make the Queen Anne’s pieces that I had hoped to make before their season ends.

img_9357

Just as its name suggests, this plant is both delicate and regal.  Like a queen, it has a certain strength.  It doesn’t blow over in the wind, or bend with heavy rains, and its white flowers stay proud and white before curling up to a strong boney frame that lasts through the winter months, poking out of the snow so you can remember the warmer days behind you and those yet to come.  In the summer it grows in fields and on roadsides, volunteering itself with ease.  Yet, when you go to pick it, it doesn’t break free from where it has rooted itself very easily.  I must remember to collect it with clippers in tow and a bucket of water to place the picked flowers in.  For if the Queen Anne’s Lace is without water, it quickly shrivels up into a wilted mop, and its white petals become dust.

In Victorian times, flowers and plants were assigned meanings, and remembering this symbolism in modern day is still popular.  I enjoy thinking about these meanings when I work with a particular plant.  In the secret language of flowers, Queen Anne’s Lace is a symbol of femininity and represents perseverance in love.  It is a prolific plant which spreads its seeds in the wind and is even considered an invasive plant in some states. Originally a native plant of Europe, Queen Anne’s Lace was popular in the during the reign of Queen Anne. It is also known as Wild Carrot because it is related to the carrot, but it is actually in the parsley family!img_0268

Queen Anne’s Lace has medicinal uses.  The seeds have been used to help clear out urinary stones, and the roots which are like carrots, have been used as antacids.  A poultice of roots can be used to relieve itchy skin.

Invasive or not, I love the wispy appearance of this plant despite its true tenacity.

To see my Facebook Album, “A Step-by-Step Process of Working With Queen Anne’s Lace”, click on the following link. Botanical Wall Hanging: From Field to Firing

 

img_9875

 

 

Inspiration

trees

I’m not a skier or a runner. I’m just a walker, slow and steady like the turtle, almost every day. There is no race, just the moment, filled with air, crisp and clear in the winter, sultry and thick in the summer.

 

 

winter trail

 

It’s a magical, quiet, peaceful, restorative, meditative, yet often social haven that I come to. These well loved, spacious and preserved trails in my neighborhood, are cared for by a trust that understands the need for such places. Lucky I am to live near this place. Funny, but I went infrequently before I got a dog nearly six years ago. Now it is a daily inspiration for body, soul, and for my clay work.

 

 

 

ivyThank you to my dog, Ivy, for teaching me about daily walks. Thank you to the visionaries who protected the lands and those who continue to care for them.  And thank you to all of the plants, trees, birds, animals, fungus, and all of the other life forms for just being there to witness through the cycles of weather and seasons.

 

 

 

view with shadows

Photographing Pottery: My story and a few tips

My photo studio
My photo studio

There are so many aspects to running a ceramics and pottery business, and taking photos of my work is one of them. I have tried many techniques over the past few years, and I continue to make tweaks to my systems for ease and better quality. My photographs are by no means professional quality, and I still have a lot to learn, but I can do it myself.

The best part that I notice over and over, is that when I do a photo shoot of my work, I find myself falling in love with each piece. Looking at each item closely,  trying to show how it functions and convey what makes that piece special is kind of magical. It makes me excited to get back to clay and make some more.  Since I specialize in one-of-a kind work, and I sell a lot of pieces on line, I spend a lot of time photographing and editing photos. Lately I have been wondering if I should start making more multiples, but that is another story.  So for now, I photo and edit constantly.

Back story and my current system for taking photos:

Once upon a time, I went to a workshop on how to take photos of your artwork. It was a fascinating class, and I came away from it equipped with knowledge and ideas.  Unfortunately, I didn’t have the budget to support all of the professional photography equipment that I learned about. My photographer cousin gave me directions on how to create the budget version lighting system, and I tried.  My husband, the engineer, got really excited about it too, and he tried to make me a light box and worked on various lighting solutions.  All of our attempts added up to crappy photos, so I went back to what I had been doing. Below I address three main points: light and background set up, camera, photo editing.

Instead of a light box and professional lighting, I photograph by the natural light of a window.  I used poster board as my background for several years, but have recently upgraded to a photo paper background.   I have also moved my station to a permanent set up on a table instead of getting up and down off of the floor and constantly rolling up my paper each time between photo shoots.  (The pets in the house always think that the photo paper is the best place in the house to walk, of course!)

I learned in the photo workshop that I should use a “real camera”.  Again I tried, but I like things that are REALLY simple. When I take photos using a “real” camera, I also have to use a desktop computer to load the photos and edit them. Unfortunately sitting at a desktop to load, organize and edit photos does not agree with my personality type.  We have to be true to ourselves, right?  So I continue to use my iPhone to take photos, and I have fully come to peace with that.  Fortunately the camera on the phone keeps getting better and better.

For editing photos, I kept hearing about a popular software for the desk top computer. I tried it, but it felt too complicated and laborious for me with the multitude of photos that I have to edit.  I just can’t sit in front of a computer for that long! So I went back to my happy way on the iPad. I use a photo transfer app to shift the photos from my iPhone to my iPad, and I have created albums in my iPad such as “to edit” and “ready to list” for my work in progress. It is so easy to do a transfer, as all I need is wifi- and no cords.  To do the editing,  I use the app called Snap Seed.   I like the portability of the iPad for editing, and I am just so much faster and adept at using the touch screen.

A few simple tips:

Pick a bright day that is not too sunny. Sun reflects off the pottery glaze and makes big glare areas.

Set up an area with a background that allows you to show off your work.  I have stuck with white, though I have tried a few other backgrounds.  Why?  My work has a lot of color and variation, and the white background shows off the pieces the best, in my humble opinion.  I am glad that I invested in photo paper because it is much wider and longer, so I don’t have to worry about the edges of the paper as I did with poster board.  However, I went for years using inexpensive poster board, so that is a good inexpensive option if your pieces are not too large.

Take a lot of photos. Take them from every angle, and turn the piece around.  Prop it if you need to catch the light in different ways.  Find things to put around your piece to show how it fits into the everyday world.  Take time to fall in love with your creation so that others can fall in love with it too.

Be honest.  Don’t disguise defects.  Don’t over edit.  Allow your piece to speak for itself.  With that said, one of the hardest and most challenging things for me is to make the photo of the piece look half as beautiful as the piece itself.  My work almost always looks better in person, but then pottery is so tactile and three dimensional, and it is very difficult to represent in a 2-D format.

 

 

 

 

 

Winter

IMG_5073
Last year we were burred in snow!

 

Winter took a long time to come this year, but as sure as ever, it is here at last.  For me the cold means closing down my studio, and moving everything into my basement until the temperatures are mostly above freezing again.  In Vermont, that usually means late March or early April.  Though I have a heat source, I cannot keep the barn warm enough to risk that my precious clays and glazes won’t freeze.  Even with the heat on, there comes a point where I just can’t be warm enough in there to work anyway.  Clay is cold and damp as it is.

So even though it was a muddy Christmas, and we were able to barbecue instead of ski, I was not complaining at all because it meant that I could keep making pottery in my studio.  This was the furthest into the winter that I have ever been able to keep working, and I was happy.

The winter is when I can take stock, regroup, plan my future, do all of my clerical work, and dream about what I want to make next.  I usually find myself making a few things in the basement, but in a 200 year old farm house, it is not the most pleasant place to work.

Even though I am a hearty Vermonter and go outside nearly every day for long walks, I kind of endure the winter, and I long for the days when I can pick fresh plants and flowers and make more botanical pottery pieces.

Maidenhair ferns growing in the spring.
Maidenhair ferns growing in the spring.

Maidenhair bowl
Maidenhair bowl