15 Tips to Increase Your Craft Fair Sales
Indie Fixx
With the summer craft fair season in full swing, crafters everywhere are packing up their handmade wares, promo items, table decorations, booth accents, banners, chairs, water coolers and more into their cars, to set up at festivals across the country. While it’s easy to remember what to bring, and OK to forget to pack the duct tape, scissors or apron, it’s not OK to forget that you are setting up a small business for a day and need to have your customer service manners in order. Jen Wallace of Indie Fixx has put together a helpful list of tips that all crafters should follow for a successful day at any fair.

Square Starts Its Bid to Kill The Credit Card
Business Insider
The world of mobile credit card processing is getting much bigger, more efficient, and may be on its way to changing the way we look at and use credit cards in the future. This week, Square launched a new application called Card Case; this new app allows a buyer to make a one-time payment via Square to a particular merchant. The buyer can then download Card Case, and from that point on, pay that specific merchant directly through the app – no more card needed. This new world of payment processing also includes the launch of Goggle Wallet, which may prove to be a strong contender in this field and provide a 2nd option for non iphone users.

Craft-O-Matic
St. Louis Craft Mafia Fair
As far as cute craft fairs go, St. Louis Craft Mafia’s Craft-O-Matic is up there with the best. This Saturday, more than 60 crafters will have their wares sold in a department store style set-up at Craft-O-Matic. With a bevy of neat-o plush goods, accessories, home goods,  pottery and more, all laid-out in organized sections, Craft-O-Matic should be a dreamy, indie craft shopping experience. While you’re there, be sure to check out the Robot vs. Kitties art competition and the kitty cat peep show, which  benefit the Tenth Life Cat Rescue.

Great Design + Functional = Awesome
Design Milk
Over the last 7 years, Umbra has been sponsoring a mega student design competition at the Pratt Institute. Winners of this competition may be given the opportunity to work with Umbra’s team to develop a prototype of their design and have it manufactured by the company; royalties would go to both the winner and Pratt. This year, the winning design came from Jeff Rubio, who created a simple clip handle with a bold design, that can be placed on paper bags or other like items. If/when Rubio’s “Clutch Clip” will be produced is not known, but his innovative design with simple roots is an inspiring nod to more of what the newest class of designers are bringing to the creative table.

Etsy Sellers Claim Urban Outfitters has Ripped Them Off. Again and Again and Again.
Huffington Post
Since last week, crafters, bloggers and reporters have been lighting up the online news outlets and twittersphere with the story about how a global chain store has, once again, ripped off the designs of an independent crafter.  Urban Outfitters was accused of design thievery after their series of USA State necklaces were deemed too eerily similar to those of jewelry designer and Etsy seller, Stevie Koerner. While the basic storyline is sadly one of many, this particular story has gained a wide range of support from the likes of Miley Cyrus, a call for a boycott of the retail giant, and (thankfully), many sales for Koerner. Highly recommended is the link to the Regretsy post from Helen Killer, whose interesting notes on this story provide a good lesson in why all those who sell online should know and understand trademark and copyright laws.

Tube Necklace No. 2 by Etsy seller artbywinona, features both the neutral tone and the eco-minded supply trends that are predicted to be popular in 2011.

The craft world is a living, breathing, constantly changing and evolving organism, and there are definitely major trends that course through it’s veins. But my they are tricky. They’ll surface for months only to be stuffed to a storage closet’s backward depths after they’ve reached an arbitrary and unexpected expiration date. What dictates these enigmatic, yet powerful forces of economics and design? How can we predict them so our items are on the forefront of a rush, rather than ignored in online shops or stuffed behind a row of boots in a buyer’s closet?

The team at Craftster.org aims to answer those questions, or at least get a jump start on possible predictions, with a comprehensive run-down of all things trendy in 2011. Titled 2011 Indie Craft Trend Report, it was composed, according to the table of contents, “using anecdotal evidence from a community of 225,000 crafters, and analyzing data and trends from the collective 1.3 million visitors a month to the Craftster.org website.” Here’s some highlights from what the report has to say:

• The upcycling, green craft trend will continue to grow in 2011. Eco-minded supplies, such as naturally sourced woods and recycled metals, as well as found or reclaimable objects, like altoid tins, glass bottles, and old books will be popular crafting materials in 2011. Necklace no. 2, pictured above by Etsy seller artbywinona, is one such example of an item that incorporates eco- friendly materials, in this case metal tubing, to create a modern jewelry piece. The green trend will also have an impact on fashion, as many clothing oriented crafters will hit vintage shops for the reclaimed fabrics of sheets, curtains and apparel. Prepare to see old school fabric patterns making a comeback!
• The colors du jour will be natural and earthy tones, such as browns, greens and grays  as well as bright jewel hues like fuschia, deep red, plum, and teal. Think back to the basics with pops of colors for easy and contrasting palettes.
• Fashion. According to Craftser, the masses are screaming for shorter hemlines for the ladies, lots of layering, and for details, details, details on all pieces. Embellishments, pleasant finishes, and structural pleating will be lavishly and painstakingly constructed to make potential customers sit up and notice. Take note to the right of the A-grey marl mini skirt by Polish designer Arc Square, which mixes an earthy palette with lots of leg and an impressively complex, architectural pleating. As for the rest of fashion this year,  a mixture of 1940’s and 1970’s looks, which we’re already seeing now, will continue to be popular. Leggings will become a dress staple in 2011, possibly taking a wardrobe defining turn. Bolder prints, colors, and textures mean they will demand to dominate any outfit as a signature piece.
• For the jewelers out there, material imitations out of clay, fused plastic and resin will be the current take on baubles. Millefiore technique is also scheduled to make a comeback. Also, buyers are craving pretty and luxurious. Lavish, expensive looking designs will be remade in more economically friendly fashion this year, which is what the customer wants.
• All the fiber obsessed artisans take note: newer creative techniques, like stitching on mixed media, free form needlework, and vintage embroidery transfers means embroiderers will be bringing it this year. A mixed media embroidered diorama piece, Hello Old Friend by Etsy seller Mary’s Granddaughter, pictured to the left, offers one such example.  For the quilters, there will be a major increase in the use of creative embellishments. Also in the future, detailed, labor intensive art quilts will be very “hip” and intended to impress.
• Knitters and crocheters, on the other hand, will love soft acrylics, wool and natural yarns when churning out pieces on their double-ended crochet hooks in 2011. Cable knit items and amigurimi patterns will be in high demand year round.

That’s only the tip of the iceburg. For more to this report, such as trends in baking and cooking, handmade gifts, inspiring muses from pop culture, and the top 20 most visited websites by crafters, download the PDF of the full report here.

What do you think about these trends? Have you seen any of them already? And how about trend reports and forecasts in general? Do you find them helpful? Please comment below!

Drawing in Thread: Contemporary Embroidery
March 30 – May 2
Opening Reception on April 8 at 5p.m. with a gallery talk at 6:30p.m.
The Gallery is located in Carlson Hall on the Mount Ida College campus

Traditionally, embroidery is a decorative embellishment made with a needle and thread on textiles. This exciting exhibition includes the work of 19 contemporary artists who push the boundaries of the traditional meaning of embroidery. Traditional and non traditional techniques of embroidery are used to explore historical, political, personal and humorous iconographies. Works include a bounty of color and line as found in drawn landscapes, Miro like paintings and wall and floor installations held together in space by thread. These artists offer an exciting new vision of embroidery. Curated by John Tricomi and Kathleen Driscoll.

Artists include; Annie Aube, Bren Ahearn, Deborah Slabeck Baker, Emily Barletta, Corrine Bayraktaroglu, Andrea Dezso, Katy Helman, Takashi Iwasaki, Anna Keck, Joetta Maue, Michael Aaron McAllister, Elaine McBride, Chris Niver, Marilyn Pappas, Marjorie Durko Puryear, Shannon Rankin, Richard Saja, Jodi Stevens, John Tricomi

The beauty and grace of the hand of embroidery artist Walter Bruno Brix is inspiring. He creates lovely subtle simple lines in thread to explore issues of sexuality, the aging body, and of life and death.

I am especially drawn to his series 42, a series of what I assume might be self portraits of a male nude figure. The images in some way reminds me of the photographs of John Coplans in their investigation and honesty towards the natural imperfections that come with age. The failure of our bodies to stay young and perfect.

The honesty of the work is what I love most.

He has also created a series of loincloths, which uses simple line and color to document the cloth of men in a fascinating way. I have seen very little if any other art that has treated the male body with such loving attentiveness as these works.

Walter says little about his work though what he does say is eloquent if not as revealing as we might want:

Basically no literally formulated, intellectual demand or grounds lies in my art. This would seem to me not sensible because everything what can be also expressed with words the art does not need. To me the inexpressible, non-clear, the unspoken, between-the-lines is more near to my heart.

With my art I do not want to teach, persuade nobody to something or take away on a putatively better one. My works are rather recordings of my perception.

Besides, my ranges of topics are seeming for me; the body of person and animal, sexuality, with homosexuality playing a bigger role, age and death, the fears and dreams of human. My work circles round me, round the images I think of, round my predilections, dreams and fears.

You can see more of Walter’s beautiful stitching here and here.

I love the goreous topography, map like work of artist Amy Honchell. Though she may not fall under the auspices of craft she is definitely inspired by fiber and the idea of touch. Her most recent body of work Personal Geographies uses the layering, folding, and stitching of fiber to create some beautiful installation work that explores both the world and our emotions as map.

Amy states:

Creating art, like creating a map, is an act of translation — conveying the conceptual through the material, and articulating ideas/information both visually and verbally. I believe that looking at and being aware of the world around us is a key part of being an artist.

I draw inspiration from the histories and structures of textiles, geography, biology, and architecture. Invisible patterns—topography, weather patterns, bodily systems— are the basis for my site-specific installations and drawings. My work focuses on conflating the spaces we inhabit (landscape, architecture, bodies, and minds).

…Topology, sewing, and elements of mapping underscore the parallels between the structures and functions of the human body, architecture, and the landscape. I invite viewers to cross unseen boundaries and discover new territories while exploring the sense of touch in a visual way.

Amy also creates work that explores the topology of the body and skin.

and the natural way of nature.

It is always nice to be reminded how endless the possibilities of fiber as medium is. To see more of Amy’s work go here.

When I saw the beautiful installation work of artist Jodi Stevens I was inspired by its simplicity in both palette and form.  Her installation impediment reminds me a lot of Ann Hamilton’s performances with her use of the large table, facing chairs, and pile of materials. But with the hand wrapped stones and gray color palette it has its very own unique voice.

It seems obvious that Jodi is inspired by nature and its forms. As seen in her other lovely work Collective where the round forms both seem to reference planetary shapes, eggs, rocks, and sea life.

The repetition and collection of layers in the work is important to Jodi’s process-  she states:

My work and process of making manifests a kind of ritualistic behavior and involves the use of numerous elements and ordinary materials such as yarn, thread, and/or pieces of fabric in an unconventional way. I use the deliberate placement of material to create texture, repetition, and movement usually in an installation format. These installations frequently utilize the gradual build up of material that, to me, can represent emotion. This layering creates a mass or a moment of anticipation.

Jodi’s work can be seen along with mine at Mt. Ida College Gallery in the exhibit Designing Thread. The exhibit has a wonderful collection of diverse artists working in embroidery and if you are anywhere near Boston I highly recomend a visit to the exhibit which opens March 30.

To see more of Jodi’s work visit her site here.

For being a somewhat young artist, 38, she has an extremely impressive portfolio of mature and exciting work and has shown extensively- makes me feel like I need to step up my game. Though she does have quite a few years on me.

Joana is most well know for here crochet works in which she crochets coverings over taxidermy animal heads, crabs, and traditional figurative sculptures.

But I personally am really excited by her large scale yarn and fiber installations. In which she often is responding to the architecture of the gallery or space that she exhibits in.

Joanna has an excellent eye for color and uses in liberally. She utilizes color and texture in small simple works ….

to large scale complicated installations.

As I said, Joanna’s work is extremely diverse but yet as you look through it and its evolution over the last 10-14 years you can see the same mind working behind each piece. I appreciate the risk she takes as an artist and the willingness to experiment that is evident in her work.

Her portfolio is VERY extensive as she seems like a very prolific artist- so go and see much more compelling work at her website here.

The second to last connective thread feature is on the Midwestern artist Summer Zickfoose, a fabulous name I must say. Summer had two lovely works in the exhibit, both hair embroideries on old childrens christening dresses. The work spoke about memory, loss, nostalgia, and innocence.

They were very beautiful and worked incredibly well with the surrounding work.

Summer grew up in the cornfields of Iowa and now calls the heart of America, my home state of Ohio, home. Her Midwestern background and childhood greatly influences her work. One often sees the tools of the farm being re-created as objects of artistic design, nostalgic memories, and yearning.

Her work and projects, though often visually simple, are quite profound in their thoughtful conceptual development and careful arrangement.

Her installation Cockleburs and Pleasantries is a gorgeous installation that includes porcelain cups re-fired with the words of Midwestern womens diaries on them and inside of them, each one hung carefully, collecting objects from the Midwestern farm woman’s life. The piece is gorgeous.

In, Remaining Cloth, simple white towels are treated with wet plaster, and hung on a nail. The simplicity of the form and action add to the quality and metaphor of the work. Plus I just love me some gorgeous white plaster any day.

The towels become physical memories of what would usually be a fleeting moment. Their repetition suggests a series of repeated actions or days, a monotonous chore completed, but yet their changing forms defy that monotony.

Feeding Sites

In addition to gorgeous objects and installations, Summer has done a number of quietly beautiful performance pieces. You can read detailed descriptions of these on her website as well as see performance images.

Object Lessons, top image performance, bottom image detail of plate.

By researching her work more, one quickly sees the reverence and respect Summer has for the Midwestern women that have come before her and a deep connection to the personal history of her family.

Her statement reads more like a poem. Here is an excerpt:

It is called the middle of nowhere; observed from an interstate. The sticks, the hicks, the mind-numbing boredom. The absence of culture, of progress, of significance.

The rural, American landscape…

As with any archaeology, there is the place, its culture, and the objects and materials used by that culture. I believe these objects and materials hold within them a multitude of secrets.

She watched the lights from across the road to see when they went to bed.

She maintained the regiments of a controlled lifestyle. This somehow balanced the uncertainty of weather, of markets, of survival. …

a reinvented vernacular, layers of history are revealed and evolving rural customs are unearthed.

He always said,
in regards to the persistence of jello salads,
that they weren’t good enough to be a dessert
and weren’t healthy enough to be a salad.

A fragment from a Midwestern woman’s diary embellishes the surface of a ceramic cup, which is then filled with cockleburs. The surface of a family christening gown is embroidered with hair, two generations later. An old, circular saw blade is cut into the pattern of a doily. The familiar is tilled and rearranged. I exploit the decorative and accessible qualities of commonplace objects, then pair them with the more grotesque, visceral experiences of the body. An overlooked and ordinary chocolate chip cookie can, in the course of a performance, be revealed as both cultural icon and social tool. The corporeal and the subversive combine, conjuring honest dualities of the comfortable and awkward, the conventional and progressive, the distressing and humorous that are components of nearly every family, culture, and place.

He knows this land very well…

The familiarity comforts and smothers him simultaneously.

Being a proud Midwestern girl myself, Summer’s work makes me a bit nostalgic for my own childhood, with the use of cockleburs reminding me of playing at my grandpa’s camp by the Ohio river. The cornfields of her performances take me back to childhood car rides and fairs, and the simplicity of life and family remind me that sometimes simplicity is much better than the hectic life of the urban landscape.

I also find it fascinating that as an artist who is quite in love with words and language that a number of the connective thread artists work and write like poets, though their initial selection of work was based entirely on the visual. Perhaps a visual poet is more easily recognized then I would have thought.

To view more of Summer’s work please visit her website.

Here are some images of the opening and install of the fabulous connective thread exhibtion, I was so honored to curate this exhibition and blown away by the quality of work that was submitted. The curating process was so difficult – but in the end I felt like it was a very exciting and cohesive show. We had a very diverse group of work and artists but they were all connected by that connective thread…

Look at the awesome turn out we had at the opening. The gallery was packed from 7- well past 10. We went through 3 cases of wine and I think all had a good time.

Curating a group show is a lot of work, corresponding with many artists all with individual needs, promoting the show and opening, designing the cards, and orchestrating the opening. But is has been so rewarding. It is almost as rewarding as having a show of my own. Afterall, it was my visual eye that put the artist together and installed them in the orientation that they are in. Very satisfying, I cannot wait to do more.

I was so happy that so many people came out to see all these amazing artists work!