Because I have a couple of different businesses, I am frequently bouncing between websites and blog posts and twitter accounts. Part of the challenge is the constant generation of ideas whirling in my brain faster than I can get them all down. So, I switch over to another page or file and record the thought. I get things accomplished but I know I could do better if I focused on one task at a time.

Every year I pick a word and for 2012, my word is FOCUS. I’ve not decided exactly how I will apply this to my work day but I have a few ideas. I may choose to work strictly on one business on certain days. If I am doing a project for Inspired Livelihood and something comes up for Craft Biz Blog, I’ll possibly just pretend that Craft Biz Coach is out of the office today and she will get back with you tomorrow. I’ll keep my Inspired Livelihood hat on all day. And then how do I handle areas of overlap in my businesses? Maybe I’ll divide my day spending morning on one biz and afternoon on the other.

As an artist, you may work on crafts that require diverse processes. Do you design Monday, fabricate Tuesday, solder Wednesday, market Thursday and pack and ship Friday? Do you throw pots in the morning, glaze others in the afternoon while others are firing? What happens when you get a burst of creative energy on a day that’s designated a marketing day? How do you organize your tasks so that you maintain sharp focus while continuing to be open to flow of inspiration?

My friend Barbara Winter has some great tips on 3 Ways to Sharpen your Focus HERE

There are a lot of web-savvy buyers who just don’t like to shop online. Even those of us who do purchase manufactured products, books or music  online, want to see and touch art in real-life. For many shoppers, meeting the craftsperson face-to-face is part of the attraction of buying hand made pieces.

It’s mid October and definitely time to be getting your work out there for early holiday shoppers. So, how can you get your work in front of the people who value made-by-hand? If you shy away from the large seasonal craft fairs like Harvest Festival, I don’t blame you. The booth fees are hefty and the whole experience is exhausting. Many artists who previously exhibited at the big festivals report more sales and a better bottom line when they exhibit at smaller venues such as school, church or community craft fairs. If there aren’t any small festivals in your area, you can approach schools, churches or clubs and offer to set up an exhibit of your work and give a percentage to the organization. (Think of it in place of a booth fee.)

House parties are another good way to sell your work. Ask friends, relatives or co-workers to host a party where you can display your work for their friends. Maybe partner with a caterer who is willing to make appetizers just for exposure to new clients.

Retirement homes are often happy to let you set up a display at no charge. It gives their residents an activity and chance to do their shopping independently. Look for upscale independent living communities, not nursing homes. Many of these residents have good disposable income, are educated in the arts and thrilled to have unique gift options without having to depend on anyone to take them shopping.

Corporations and hospitals are open to people setting up a lunch time or after work sale for their employees. It cuts down on personal days or “sick days” which are commonly used as shopping days around the holidays.

Ask gallery owners or boutique retailers to host a trunk show of your work for a percentage of the sales. Particularly if you make jewelry or smaller gift items, it benefits them as well. Galleries sell fewer large pieces of artwork before the holidays so this is a way for them to offer something to their clients that they may not show the rest of the year. If it ‘s a success and your pieces sell well for them, they may agree to carry your work year round.

For more ideas on how to sell your craft, download a free copy of “13 Easy Low-Cost or NO Cost Tips to Turn Your Crafts into CASH NOW” on the right side of this page.

One issue that keeps coming up in my one-on-one work with crafters is that it’s not crystal-clear how someone will give them money.

If your site visitors don’t know HOW to give you money, than they probably won’t!

Here’s a quick list of ways you are making it hard for me (or anyone!) to give you money:

It’s not clear what you do, or that you take money to do that thing
You have an Etsy or Artfire shop, but I can’t find it on your website (or your blogger blog). If I have to scroll down to find it, it’s too hard to find.
You sell in ways other than Etsy, but I can’t find that information.
I’m not sure WHY I would buy from you. What are the benefits? What makes your thing different than Joe’s thing?
I don’t know who you are. If your About page describes a faceless business, I’m not going to get that thrill of buying from a real, live person.
You only have an Etsy or Artfire shop, so I don’t know how to find more about you. I can’t get to know you via Twitter or a blog or an About page.
You list your prices in your country’s currency. What is it going to cost me, a self-involved American?
This is only a partial list!

Do you have examples of what businesses do that makes it hard to buy from?

Share it in the comments!

One of the best ways to market your craft is to find every opportunity to get your work in front of an audience. This seems obvious, but so often artists hide out in their studio. Some of us, myself included, shy away from the spotlight.  But, to succeed, it isn’t enough to have your work on a good website. You need to make an effort to do some in person appearances as well. 

How do you go about getting your name and face out there as well as your work? (remember, part of the appeal of handmade is knowing the human behind the work. ) Demonstrating every chance you have will begin to establish you as the expert in your medium. Craft supply stores, galleries, workshops and trade shows are all opportunities to demonstrate your craft. Approach the manufacturers of the materials you use, either in person or by sending them a nice professional looking portfolio with examples of  different techniques for using their products. Offer to make appearances in stores that carry their products, showing both the staff and customers the benefits of using their  products,  and at craft trade shows demonstrating to retailers. Not only will this give you some extra cash (the going rate for demos is $45 to $60 an hour) but the main advantage is that your name becomes associated with your medium and you gain expert status. This also can lead to opportunities to do television appearances on craft and home shows as well as writing and speaking gigs. So, get out of the studio and make a name for yourself.

Your target customer is the discriminating shopper who wants something unique and handcrafted. Yes, people are being more careful with their dollars now and you have the advantage in that when times are tight, consumers want what they are spending on to be special. They may not be shopping for household appliances right now but when it comes time to purchase a gift or a piece of artwork for their home, they are making conscious choices and want something they don’t see everywhere.

Keep sight of who you are and what your work is all about. You are an artist and unless you are not staying ahead of the off-shore knock-offs, you have no reason to be concerned about ‘competition. You have something special that your customers are proud to give. They love to tell the recipient that they met the artist in person-it’s important to know the story behind their purchase.

Right now it’s more important than ever to have your products “shout” of handmade. Take the time to put hangtags on each piece, identifying it as handmade, maybe even talking about the technique. Include a bio and ideally a headshot. Remember, it’s the human connection that makes the difference.

My old attitude came from a misguided background in fine art. Actually,  I was a misfit in a competitive Design , Art and Architecture College at a large university.   It was immediately apparent they’d made a mistake accepting me into the art education program. I’m a creative idea generator but this was pre-computer and to say I’m not a perfectionist is an understatement. Several of our design courses were combined with architecture and industrial design students and, well, let’s just say,  I didn’t fit in.  Another part of the curriculum was classic training in the fine arts of drawing, painting and sculpture. It was unacceptable if not laughable to even consider creating anything functional. The only time I felt in my element was the one semester we got an abbreviated sampling of jewelry and textiles.

Decades later as I walked the aisles of the Buyer’s Market in Philli or the ACC show, I thought, “Why didn’t I know in the early 70s that this was a option? And as I looked around my gallery full of  delighted customers purchasing “functional” art (craft), I visualized the disapproving face of my old college professor and smiled, happy I that I’d followed my heart and opened my mind to the world outside of fine art.

Yes, I’m still in awe of painters and sculptors and I do have fine art hanging in my home. I’m also proud of the funky, fun, functional craft I own. It makes me happy and I know that the crafts people I purchased it from are artists as well.