Pricing Your Work Part 2: Getting Paid

Pricing Your Work Part 2: Getting Paid

Alright Fiberista’s so, last week I shared with you the basic formula for finding the number that will support your work. And I spent a lot of time making the case for why you should charge according to that number even if you do not think you need the money or are uncomfortable with that number.

Today, I am am going to push your self value/money issue buttons. I have already gotten a couple of emails from some of you who think I am nuts for asking you to charge for your time because “I just can’t charge that much”. I have no doubt I will get more emails like this today. It is okay. I get it, I have been in your shoes, thought this myself and had to shift my mindset and the way I did business. This is the culmination of 12 years of pricing struggles, bad mistakes and thousands of dollars I have spent on classes about marketing artisan crafts. Today I am going to share with you why you should be using last weeks’s formula, who the hell will buy at that price, and how that is going to make you a better business person AND artist.

Here we go:

Why you do not want to let others set your prices
I am guilty of this too. We have all done this… look at what competitors are charging for similar products when deciding what to charge for our work. Here’s the thing. How are you sure your costs and overhead are exactly the same as your competitor’s? And for that matter, do you know how they came up with their prices? Maybe they are in a long line of people deciding to undercut the last person in hopes of grabbing a sale? This would mean the original sustainably configured price could be way higher than the downward evolution of that price your are considering undercutting even further. Please do not hang the fate and decisions of your business on someone else’s information. You have no idea where they got that price. You have the tools to come up with a number that is sustainable for you. What you really need is a better sense of self value.

That being said, stop trying to compete with manufactured goods.
You are hand making an item. What sets it apart from a manufactured item is the TIME and creativity you bring into it’s production. The “imperfections” lend to the handmade quality…emphasis on quality. If people want to buy a thing  for as cheap as possible and do not care about the handmade aspects then it is a losing battle trying to market your hard work to those people. Let them buy the cheaper item. You want customers who will love the fact that your work is hand made, they want to feel good about buying your genius. I will often go a step further and refer the bargain hunters to my favorite discount resources. I get it. I have done my share of bargain hunting myself. I save my energy for people how love handmade, because they love and value what I have to offer.

Cheaper does not alway mean better sales.
If you are at a fish market will you automatically go for the cheapest price? Price does not alway equal quality. People will always be fine with paying more for what they feel is of better value.

You can charge whatever you want for anything.
Here’s the thing. There is no real law about what you need to charge for your work. What are the differences between a Mercedes SUV and a Ford SUV? Why does the Mercedes cost more? For the most part the cost of the materials are the same. Both are manufactured in similar communities. The difference is how each company caters to their clientele. Think about the typical clientele of each company. Each are at different stages in their lives and have different needs. Each company uses their marketing to advertise their SUV as a solutions to needs of completely different customer bases.

If you think you can not charge your customer a suitable price, you are marketing to the wrong customer.
Yep. When thinking of your ideal customer, the first thing you need to consider is marketing to someone who can afford your work. Period. Do you think Mercedes wastes time marketing to middle class families? no…they historically market to a slightly older, upper middle class professionals with a larger income. How can you raise the VALUE of your work to match the cost of the production plus margins for business growth? Think of that ideal customer(who can afford your price) Why would they buy from you? What will they love about your work? I probably could not afford to buy my own work. That is okay, I am not my ideal customer.

Running a business requires the exchange of money to be sustainable. And for handmade items labor costs are are almost alway more expensive because you do not have equipment or manpower to produce sustainably at a cheaper price. But ideally your customer will LOVE handmade, love the subtle differences in your work. Find the people who will shout “take my money!!” not the people who are grinding you down on your price.

Here’s a hint: Look for art enthusiasts
Straight up, aligning what you make as art will help you raise the value. Yes this can even be done with handspun yarn… Here’s how I did it. My customers for hand spun yarn are older professional women who love art and love to knit, and are right-brained knitters who love the textures and colors over techniques and process. I marketed my yarn as being luxurious enough to feel like they are making art just by knitting with my work. Working with my hand spun yarn would be like making a collaborative piece with me. I encourage them to use the yarn sparingly for accents(looks better in small amounts, besides being cheaper), and provided excellent customer service and knitting resources with invites to brainstorm ideas for their work. Feel free to steal this marketing tactic.

They are not buying the what, they are buying your why
When you are an artist, people love to hear about inspirations, back stories, your passions, your studio. When people are paying more for your work they are buying into your dreams and creative genius. When you share your why’s (and how’s), people want to support those dreams. Buying your work is giving them a piece of that dream. With social media today, artist can so easily market these visions, dreams and stories through instagram, blogging and videos. I know you probably are already doing some social media, just share more art and I promise people with be asking you to take their money.

Maybe selling your work is a just bad business decision
Have you ever noticed there are rarely hand made socks for sale? The time making them is LONG. The numbers just never crunch out enough to be productive or sustainable. Not all art is worth selling. In Lauren Venell’s Bookkeeping for Crafter’s class, Venell shares behind the scenes numbers that helped her decide to move her hand made meat plushies to being mass produced. Sometimes you just can not shave any more time off your own production time, or source the materials cheaper. Sometimes the idea of selling what you make dies in the number crunching. Even in big business, ideas often die when the numbers prove unsustainable. It is okay. There are other ideas to find that WILL be sustainable, save your time and energy with those ideas that work.

What is not okay is doing ignoring the numbers, rethinking your marketing and just charging a bad cheapo price anyway. That is not smart marketing and you are only hurting your fellow fiberistas with your own insecurities about the value of your work. You may or may not be serious about your handmade side business, but there are some people out there who need the numbers to work. I spend a lot of time helping other fiberista’s see their work as art with blog posts, forums, and support groups for this very reason. I want you guys to understand that what you do is not just of monetary value that is worthy of sustaining you financially. Your visual language is worth putting out there and finding customers who VALUE that voice. I promise, they are out there and waiting to help you with your vision and dreams of selling your fiber art.


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Pricing Your Work Part 1: the nitty gritty of running the numbers

Pricing Your Work Part 1: the nitty gritty of running the numbers

It is a question I get asked a lot: How do I price my work?

I get it it is so very hard to know how to place value on art work in general. But as far as pricing hand knits and crochet, hand made yarns and fibers it can seem so much more confusing. I mean heck, you can find yarn at Michael’s for less than $10 a skein and sweaters at Target for $29. It totally breaks my heart to see one devalue their work trying to compete with a corporation that is able to produce in mass, gets corporate tax breaks, and large advertising budgets. Plus there are so many other reasons for you to price your work for sustainability as opposed to quick sales, but I am going to climb on that soapbox next week. Today, Fiberista, I am giving you the first of a two part post on how to price your work.  And it is all about how to run the numbers.

So, the formula for calculating your price is quite simple.

(Cost of Goods {I include packaging} + labor{time spend producing x hourly rate}) x 2 = wholesale price

wholesale price x 1.5 to 2.5 = retail price

Labor is what you pay yourself for making your product. The rest of the profit is what you use to pay overhead for your business and invest back into growing that business.

You calculate labor based on what you need to live, divided by the number of income producing hours you will work. Here’s the important part… If you are running a small business, YOU WILL NOT BE WORKING 40 INCOME PRODUCING HOURS. You will have to account for the time you will spend on marketing, accounting, new product research and other admin tasks. It is not uncommon for you to only spend 25-30 hours a week making stuff when you own a handmade business. Here in the US the minimum wage is $7/hour. It is not a sustainable wage. Even if you are supported by a spouse and do not think you need the money, do your fellow fiberistas a solid and do not set your hourly wage so freaking low. There are single moms out there who have dreams of just being able to feed their kids with their cottage industry yarn business as opposed to paying enormous daycare fees to go to a desk job in a cubicle. Your  skills and knowledge are worth more that $7/hr. Besides, a lower price does not alway lead to more sales…I will cover the bizarre theories behind that next week. Just know you can ask any price for anything, keep that price sustainable for the full time business fiberistas.

So, looking at that retail price is pretty scary, huh? Especially if you are pricing something hand knit, because holy smokes knitting takes a long time. So many fiberista’s will shave off their labor costs to make the price more attractive (hey, I have been down that path myself and learned a very hard lesson). Here’s the thing. If you are serious about growing a business, or even just support the idea that fiber artists should be able to pursue the dream of growing business, you will need to factor in the labor costs. When growing a business you will eventually need to hire help. Building in labor cost into your prices provides the path to being able to hire help.

So back to the numbers, If any of these numbers are making you a bit uncomfortable then you are in the right place. Because the follow through with pricing your work based on this formula, and the marketing skills needed to actually get that price involves some serious mental gymnastics. And that I will cover next week.

In the mean time I have a couple of super awesome resources that I have personally used to figure out my pricing.
Especially if you have an ETSY, Shopify or other online shop, go sign up for this right now. Designed with makers in mind, is a super awesome way to keep track of inventory, sales and…my favorite and most used thing…a pricing calculator. Sign up here and get 10% off your subscription(this is an affiliate link)

These two Creative Live classes
Bookkeeping for ETSY Sellers and Bookkeeping for Crafters Both by Lauren Venell. Lauren is a season crafter who grew her business to a thriving popular product. She has so many insights on how to set up your business to make sure growth will happen sustainably. Be sure to check the schedule, you can catch the upcoming rebroadcasts for free. But I would consider buying the class on Demand to refer back to.

As I mentioned there will be a part two next week, where I will help you have the courage to ask for the price you need for your fiber art work, and how to find the customers who will very happily pay those prices.


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The 5 Keys to Making Art You Love

The 5 Keys to Making Art You Love

For the longest time, the idea of making a body of work and really embracing the idea of being an artist was just overwhelming for me. I have always done creative stuff. Not just little crafts. I would take art classes and learn some intensive techniques like metalsmithing, bookmaking, lampwork beads, or ceramics. And I had always hung out in art communities. But I never really dove in to creating a body of work. I was an art major in college. How did I not really understand how to make a body of work? It was as if I thought that learning complex creative techniques would somehow give me license to consider myself an artist. And maybe just by the nature of how I used my visual language communicate ideas, did give me license to call myself an artist. But I had nothing of substance other than a couple of successful projects to show for it.

Once I found my medium in fiber art, I kind of felt I really still did not understand where I was falling short in terms of how and what I was making as an artist. Even as I started UrbanGypZ I was not really producing something cohesive that I felt like I could stand behind as really art. It is one thing to be a professional knitter, dyer and hand spinner, but I am not sure I would consider any of those things (outside of the the actual business) a body of work. I found little clues to my own style in the materials(the yarn and the fiber) I was creating. But, actually making a real body of fiber art work– one that I felt was cohesive, had substance and considered my personal style–took a really long time for me to come to terms with and produce.

Here is what I figured out: Being an artist doesn’t have much to do with talent (which by the way is subjective) or even what you are making. It actually is all about consistency and confidence using your visual language. Today I am going to share with you what I have found to be my 5 keys to actually making art I love and am proud to stand behind.

Make art a priority. I am the first to admit, I will often bump my studio time for random everyday errands. But, I have to say, the first thing that HAS to happen when you are really, really ready to start making some art is you MUST show up. Seriously. Get the calendar out, slug out some non-negotionable time, and start saying no to anything else. This shit is not going to make itself. Get in the studio.

Make a lot of the same thing. It is so easy to just cycle through a series of techniques and consider yourself a craftsman. Don’t get me wrong trying techniques and playing with ideas is important and fun. But, what if you take time to explore an idea deeply–doing the same thing over and over, until you feel you have really mastered the technique and it becomes second nature. The next step would be to make tiny adjustments and add small details that bring your personal style to this body of work. The artists whose work I can identify, are the ones who have made a lot of the same or similar things over and over. With each exposure to their work, their style becomes recognizable. I remember the artist and may even seek out their work.

Stay curious. While making a lot of the same thing, you also need to continue to give your work room to grow and evolve. Inspirations are born out of feeding your curiosity. “What if” is the best thing you can ask yourself in terms of growing your work. Be curious enough to take a chance on trying new versions of your work. It is okay if you decide these ideas are not right. There are really no mistakes. It is all information and will most likely lead you to the next “what if” moment. This is what growing your work is all about.

Don’t overthink, just do. It is easy to fall into the trap of measuring your work against other’s– worrying how your art will be perceived and judged. This can be one of the biggest creativity killers. Get out of your head and judge your work only by how you perceive it in your heart. Do you feel a little flutter when you stand back to really look at your work? Do you find yourself thinking “oh hell yes”. When your share your heart, anything you make is a million time better than working off your fear of how your work will be perceived.

Show your work. Just do it. Even if it is only with your friends. Actually…share your work especially with your friends. I know this is outright contradicting point number 3. There is no explaining why this will make you a better artist other than to say, the people who know you the best, will see you and your heart in your work. AND…they will also call you out when your work does not ring true.

Being an artist is not an endpoint, but a never-ending process. Looking back I can see that even the doubt and dissatisfaction I had, was all a pert of the journey. And from what I can tell will continue to be.

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My Creative Emergency Toolkit

My Creative Emergency Toolkit

I have been avoiding my weaving. Really. I have scheduled so many weaving days in the last month and just don’t do them. It is not that I am losing the weaving love…in fact I am really excited about the stuff I have made so far. It is really more like I am feeling a lot of self induced pressure to make something even more awesome. So I just avoid it all.

Here is the crazy thing…I think my new obsession with clay has totally saved my weaving log jam. Here’s how it all went down:

After months of searching for a much more attractive solution to for hanging my wall weavings, I created a series of wall tile headers to sew them onto. Once glazed and fired, I pulled out all my old weavings to match them up to my new tiles. I was surprised to find myself noticing how subtly my work has evolved. I also found so old techniques I am wanting to go back to. But new/old ideas aside… I found it most amazing to realize that my work has progressed without my even noticing it. And it did so because I was not in a place of pressure to innovate innovate innovate. The evolution happened through the steady work of being in the moment of turning my favorite colors and textures, inch by inch, into fabric.

Art is still happening when you work from exactly where you are in the moment of using your visual language doing what you love.

All those daily inspirations happen far easier when you just don’t overthink it… and I am living proof that it is much easier to say than do.

Because this is not the first time I have experience this particular creative log jam, I decided it was time to build an emergency plan to have on hand when this particular creative/motivational block comes up. Here it what mine looks like:


Take some self care time to check in and see if there is some underlying issue I am just not seeing. Sometimes it is burnout, sometimes it is another unrelated stress I am avoiding. Sometimes I just am physically not feeling well. Most of the time I am just overthinking it. But it does not hurt to really check in to make sure I am not missing an all together different concern to be addressed. Often it is as simple as taking a walk on my neighborhood greenway. Or even taking a nap.

Using my essential oils. Y’all know I love my oils. My diffuser runs 24/7. I only use Young Living Essential Oils because I love the purity and they work so well for me. My favorite way to use my oils is to help me through this very kind of emotional issue. My go to oils when I am feeling motivationally/creatively blocked are Present Time, Envision, Motivation, and Clarity. I will sometimes add Valor II if I am feeling insecure, and Stress Away if I am fighting some everyday crazy outside of the studio.

Set up my space. When the motivation is iffy, damn straight my space needs to be über inviting with snacks and beverages, a good movie or music, and my favorite tools in place. Sometimes I might add some of my favorite non tool items, like my favorite rocks and crystals, a plant. It is almost like arranging my living room…or better yet creating an sacred space with tiny alters.

Journaling time. It also helps me to flip through my art journal, add a little bit of work even start a new page.

Schedule my studio time. Sometimes I need a day or so to mentally clear time to focus. That studio time does not have to be very long either. Sometimes an hour or two is just fine.

Plan on working on more of the same. This part is huge… when I am feeling overwhelmed, to keep moving with my work, sometimes I just need to take baby steps. AND there is absolutely no shame in making more of what was awesome. Many many  famous artist spent lots of time painting the same thing over and over allowing the tiny innovations to surface naturally as they work. So, when I am feeling overwhelmed, I am going to just pick one simple look to recreate. Keep it simple.

I am even going to make myself a paper reminder to hang on my notes board. My creative block cheat sheet. So, what kinds of things would you put on your creative block emergency plan? Would you use some of the same steps? Do you have some favorite creative self care tips? Leave me some comment love below or share them in the Fiber Art Collective. Not in the Collective? Sign up below.



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Getting back to the art journals

Confession time….I have fallen hard off the art journaling.

While I would like to be able to say I am one of those people who can not live without her paper brain, lately that just has not been the case. I have always admired the sketchbooks of artists who are constantly working in them, Those books are a work of art in and of them selves. And I have seen first hand in the Graphic design industry, how those journals have helped some of the most successful creatives in the industry grow their work. Those journals are how they process ALL their ideas into form. It is how they keep their creative brains limber. It is where they let their creative ideas play and grow without judgment or outside influence.

I find artists are pretty polarized when it comes to working their ideas out on paper. I once taught a college level design class and required the students to keep sketchbooks as well as provide thumbnails and roughs of their work. Half the students hated going through the documentation process, thinking it was wasting creative time. The interesting thing was it took those students more time to do the work, and they did not have a reference to refer back to for future projects.

Since the beginning of the year, I have been in a much needed creative flow. Finally settled into a routine in my new town, with an amazing new studio resource available to me, I am awash with so many ideas right now. I am so grateful and it i like a breath of fresh air after 2 years of stagnation while we sold our house and moved. But alas, my ideas are scattered among so many tiny little notebooks. It is time to wrangle those into one place. Here are some of the things I need to document

  • I am on the edge of a new body of work with my weaving integrating my new love of clay
  • I have been in the thick of a LONG website overhaul and with each page I start to rework, I find 3 more pages that need to be redesigned or created altogether.
  • I am developing a series of dyeing tutorials and will have copious notes
  • I am making clay stuff and have so many new ideas I just can not keep up with them all.


I have an art journal that I started last fall that has been shaping up very nicely. I am loving all the pages so far. Liking them enough to be afraid to actually write  on them! I have added quite a few pockets, not just because I have written my notes in other notebooks, but because I am kind of afraid to mess up my book.

BUT…If I were working in my journals on a much more regular basis than I would be less afraid of messing up.

So if I understand why journals are so important , than why the hell do I fall of the habit? A few years ago I created the 30 day art journal challenge as an exercise for myself to get back into the art journal groove. And Ironically as I am finding I want to get back into the journaling groove again, I am also in dire need of updating the 30 day art journal challenge.

So here is my accountability, For the next week I am posting my daily journal work to my Instagram. In the mean time here is a journal flip of my current book.



Want to join me in the 7 day journaling challenge on Instagram? Leave me comment below with your Instagram link and use the hashtag #7dayartjournalchallenge on your posts this week.

Other art I do

Other art I do

I suppose you could say I have always had a thing for art. Most of us creative types generally do. Once we are introduces to crayons and the ability to make marks to express what is in our noggin, we are hooked. I have always been an advocate for having some creative projects that are not connected to how you make your living. Something that is not influenced by trends or kudos or profit margins. For me that means stepping outside of the medium that is my income. I started knitting when I was a graphic designer for that very reason. Now that fiber art is my full time work, here are some of the other things I do to keep my creative brain nimble.

The Cary Arts Center. OMG. I love this place. I have never lived in a place with such a beautiful, well funded program for the arts. The community classes that are offered are so freaking awesome. Better yet, once you take a class there are studios where you can dive right into your new found skills and create to your hearts content. AND it is so insanely cheap. AND filled with so much equipment. So far I have take three classes. And have passes for two studios. Here is what I have been playing with

Fused Glass. This is another one of those  thing I thought I would never have interest in. But on a whim I signed up for the class, got hooked on the enthusiasm of my awesome teacher, and have been making plates bowls suncatchers and pendants. My latest thing is making glass puddles for pendants. They are super easy and is a great way to use up scrap glass. Pulling these little jewels from the kiln is like Christmas. I definitely have all my birthday and Christmas gifts for the year, yet I just can’t stop making these. I have been researching ideas for windchimes and night lights, so I image those are next. Here is my Glass Inspiration Pinterest Board.

Clay. I have had a lifelong fascination with clay. And this is certainly not my first rodeo with the wheel. But in the studio orientation, I FAILED the wheel portion of the test. It had been 10 years, and I was rusty! AND the glaze room was so large and there are so many types of glazes I was just not familiar with. I am so freaking glad I am working through a refresher, because there is also a bunch of equipment I have never used before as well.  I am really interested in making some wall tiles that I can incorporate some fiber with. I also want to make some coffee mugs and gigantic noodle soup bowls. I want to try all the techniques, there are just so many different styles I love. AND THE GLAZES!!! I want to throw a large set of tumblers just to play with the dozens upon dozens of glazes and all the possibilities. I am making a set of pendants that are essential oil diffusers as well. My Pinterest clay inspiration board is ginormous.

Graphic Design. It is funny to write this, but I find myself LOVE LOVE LOVING to work on my website. I love making pretty graphic quotes. I was a graphic designer for 25 years, and now I get to do it without a sales rep breathing down my neck.

Art Journaling. If you have been following me for a while, you know I am a huge advocate for art journaling. It is related to the sketch books we learned to keep in art school that helped us develop our ideas into an actual piece. And for many it was a place to harness passing inspirations for later. I can honestly say art journals have been the glue that holds all of my work together. It is my paper brain. Here is my Pinterest board for Art Journals.

Painting. Painting is not something I do too often, but it is definitely something I enjoy when I do. In 2015 and 2016, I took Alena Hennissey’s A Year of Painting series. It totally changed the way I approach painting and I find it LIBERATING. It is almost like a deeper approach to my work than art journaling, with a little bit of soul healing tossed in. I mostly work in Acrylic, but have found a love for mixed media. My favorite mixed media tools are Inks, paint pens and collage. Here is a link to my mixed media Pinterest board.

So, share with me. Do you have any other mediums you like to work in? Please share in the comment below and by all means! If you have any picture you want to share, do so on my FB page of in the Fiber Art collective.

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