Bichos

Have commissioned Lucia to 'mend' my favourite top - got a hole in it the other day and I've asked her to add a bicho to it for me :) Reciprocal linking in action - will post pic on Tues when I have it back.

Progress file & presentations

Final presentation tomorrow - have swapped with Gizella so I can concentrate on Open Studios work for 27th. Really good to look back actually, examining how I've arrived at certain decisions, e.g. exhibition collections. Don't often get chance to stop and reflect, so very useful. Next step could be to include a 'to date' post, listing all the links, resources etc. that I haven't yet followed up - tick them off as I get to them.

To follow up:

List links and post by 19th June.

Pete Mosley - Project Mgr, Connect

Writing funding bids

Have been struggling to get my head around this and which pots of money I could potentially go for. As I don’t see myself taking on ‘projects’ as such, Ill probably have to target business funding rather than arts in the main. One exception would be the Fashion Studies project for BTG. I got so much out of it that I’d love to do it again and have let the programme leaders know that I’d love to do it each year if I can; as it was essentially an unpaid commission I’ll look into getting funding for next year – with the links to education and promoting the arts in the region it ticks a few boxes I guess.

To follow up:
Ring ACE, make first contact and ask if the project is something they would consider – small amounts only, £1000-1500
Find out about further bid workshops ACE putting on

Textiles

Working with the Fashion students on their pieces has taken me off on a tangent I hadn’t anticipated – using textiles in my jewellery. Bought a job lot of reclaimed kimono silks on ebay and have started incorporating those into designs. Both sets of Fashion pieces use the fabrics used in the clothes themselves, so they complement beautifully – it’s now really interesting to see how I can use the fabrics to contrast and conflict too. Everything’s taking on a Victorian/Oriental look, and feedback I’ve had so far after posting a few initial pictures on facebook is really positive.

To follow up:
Dig out mini sewing machine to investigate creating fold and textures in the fabric
Research further into Oriental design influences in Victorian Britain

Web developments...

The website is developing apace now – been working hard on it this week. Plenty of images have now gone on, including loads of promotion for the Fashion Studies project, and images of pieces evolving from the CONNECT collections. I’m also starting to pay close attention to the web statistics the subscription provides – I’ve added Code Jewellery to a number of arts & crafts directories, CIN included, and am now seeing most site referrals coming from these sources. Of course, have to realise that some of these will be fellow jewellers seeing who else has added themselves to the pot of competitors, but some will hopefully lead to contacts, selling opportunities and actual customers.

To follow up:

Once CONNECT is finished, assignments are out of the way and I’ve had a holiday, define ranges for online store based on Coast and Victoriana collections – launch by end of August.

Beyond the Gallery - delivery of work

All work finished and delivered to the Fashion students. Really pleased with the pieces, and had a massive confidence boost from their reactions. While they were obviously aware of the designs and had seen my sketches etc., the impact the final pieces had was a nice ego massage. Knowing that I’ve worked well to their brief with new materials and techniques as well as getting both my and their message across is the most satisfying experience I’ve had so far during my practice.

One major frustration to temper things slightly – the finished pieces I’ve handed over are ten times better than the pieces I put in the CONNECT exhibition as a showcase of the project. They’re more like a work in progress, as we made a number of last minute improvements and additions to the final pieces. If I can get over to Lincoln during the exhibition I’ll place some Polaroid style pictures or something similar in the case to portray the end result of the project.

Time management

FRAUGHT!!

Having had a day’s breather after the exhibition, I’ve now got final making to do for the Fashion Studies pieces. The problem Victorian headpiece from last month is now just how I want it, and I’ve used the ‘duplicates’ I made for the CONNECT exhibition to hone the finished look. Only thing is, while I’ve recognised I work well with some time pressure, having that sustained for three weeks is not practical! My time was planned well on the calendar, things looked busy but steady; but the best laid plans…I HAVE to stick to timetables once they’re formulated – working under pressure is productive, but that will stop at the point where I’m taking shortcuts and compromising. Thankfully I managed to just stop short of that this time.

Completion/Delivery

Have had the week off from University to concentrate on finishing pieces for the exhibition. Incredibly useful as I completely immersed myself in what I was trying to achieve and convey about my work, and it was pretty successful. Found myself making last minute changes that I would probably have overlooked if I hadn’t been in the studio for the whole week – have learnt a lot about the way I work best! Of course, I’m now exhausted but really happy that I’ve got the right pieces to exhibit. Monday, delivered the work, Wednesday ‘installed’ it all. (IMAGES)

Really pleased with the way the cases look – our end of the gallery is a little cramped, with Hannah’s, mine and Carol’s work all in the same area, while the front end is really spaced out – organisation could probably have been looked at differently and shuffled around a bit, but we haven’t all been at the gallery at the same time this week so it’s hard to get a consensus, and equally hard to have made certain decisions without seeing everything in place. Definitely worth bearing in mind next time.

Pete Moss - Ceramicist

Guest speaker - Being self-employed & career development

Hugely useful session, masses of practical resources to investigate. Really sensible down-to-earth approach that was realistic – think it was hard to take for some group members but suited me fine. Everything targeted towards raising the profile of your practice, upping quality and respect, effective marketing and presenting a well thought out, professional, competent business.

Things to follow up:
Designer Jewellers’ Association
AIR business insurance (through AN)
East Mids Devt. Agency
Ashi Marwaha
Design Factory funding for business promotion, exhibition setup & fees etc.
Crafts Galleries Handbook
St Hugh’s Foundation

Cagliostro's alphabet...

Have been doing further research into Cagliostro, as mentioned in earlier post. Found his magic alphabet termed as the Alphabet of the Magi, so dug a bit further into it and found a font download I can use.

May not sound like much but I can now use that to print transparencies to use in acid etching onto metal. Once I'm in the studio I can start sorting that out as I'm loath to install chemical baths in my bedroom! Final busary instalment will take care of that set up, coming in June/July.

Studio space

Made a monumental change today (at least in my eyes!). Met with Filomena at Banks' Mill to arrange a studio space.

I've realised I've spent the last few weeks waiting for landmarks to arrive so I can take on something else, but they keep shifting and thingskeep getting put off. Original plan was to apply for the incubation programme at the Mill during the exhibition, so I could use it as an illustration of what I was looking to achieve. I still intend to do that, but suddenly wondered why I was waiting to actually move in to the Mill, when there are vacant studios with cheap rents and tons of support to be had. So I applied and I move in on 1st April.

Psychologically speaking, this will be a huge leap forward - I'll be 'at work' instead of pottering around at home, and there'll be people around all the time to discuss things with, bounce ideas off....should have done this sooner, but really chuffed I've done it now. :)

Public art - Maurice Maguire

This was a session I’d initially thought to be irrelevant to me, I’ve struggled to see where my work would fit in to some of the arenas we’ve been presented with. Having said that, Maurice’s talk on his public art project, Walk the Line, was extremely interesting. His enthusiasm and passion for his projects is infectious, and the commitment and sheer doggedness he shows when it comes to getting the work funded, up and running, received and appreciated is phenomenal.

Mentoring session #3 - practical

One of the BTG pieces is causing me real problems – an indication of the mismatch between what I’d like to do and what I have the technical skills to manage! One of the Victorian headpieces involves some really complex soldering that I haven’t yet mastered and I’m still not 100% confident with my new LARGE torch in my attic room. Called Jo for advice and she suggested I go round for a practical mentoring session. Turned out to be invaluable – gained loads of those little tips and tricks that come with lots of experience. Conquered my fear of the torch and managed to sort out the techniques I need to create the piece – excellent as it’s one I want to recreate to give me a foot into the bridal market.

To follow up:

Make duplicates of problem piece immediately, fit method and technique to my comfort zone.

Exhibition meetings

The operational exhibition meetings have got going - nice to get the practical stuff underway. Has brought up some possible conflicts re. space and so on, which could potentially prove difficult and uncomfortable for us as a group. I've been very flexible so far, I've selected my plinths and display boxes and Maggie's given us loads of advice and info on how to go about things, really useful.

As time goes on though, I do wonder if I should be a bit more demanding and not just be flexible for the sake of ease - although being difficult isn't in my nature, and as long as my work is displayed in the cases as I want, I'm not overly picky about how and where they're positioned in the gallery. I'm happy to go with the flow for the time being, perhaps things will come out through the critical review as learning points.

Pricing & Costing

So hard! Seems to be the one thing that everyone's struggling with. Discussed the various aspects, i.e. value costing, establishing hourly rates, overheads, etc. Profit margin seemed to be the elusive thing andI'm struggling to get my head round the wholesale/retail thing - will ask for more guidance on this. It's just something I've not really experienced yet...

Every group had one common note - that as customers we wouldn't be able to afford what we make! Quite sobering, but it's equally as important not to underprice things, perceptions of value are very odd indeed.

Need to sit and work out:

• annual overheads - utilities, rent, petrol/mileage
• required salary
• materials costs
• how many weeks per year & hours per week I'll be working on jewellery
• % age time making/designing

Then;

annual overheads / hours making per year = hourly overhead rate

annual salary / hours making per year = hourly labout rate

Then;

hourly overhead £ x making hours = £ PLUS

hourly labour rate £ x making hours = £ PLUS

materials costs £ = TOTAL to give the minimum cost price..... phew.

Then add profit...

I've got my work cut out.

Beyond the Gallery #3

Took sketches and initial ideas in to see Hannah and Jess, the two BAFS students I want to work with. Emailed them to let them know I'd 'selected' them from the interested parties and they both seem really excited about the project, and it's infectious.

I must be aware that I'm probably being spoilt, in that I've got enthusiastic, passionate, young designers to work with and not jaded world-weary professionals! If I decide to do more of this in the future, I'm sure it'll be a different story. However, as a learning experience and a way to take my jewellery in a whole new direction, this is fantastic. Seems I was right on track with their initial thoughts about what I could create for them, and the discussions we've had about materials etc. have been really positive. While this will be a challenge, I think I've managed to keeo it to a manageable level, and in keeping with the pieces I wanted to be creating anyway.

Marketing

Attended a marketing workshop as part of the SPEED programme yesterday - incredibly useful. Really, practical, hands-on stuff, from market research to constructing ads and everything in between. "The shining beaches of Derbyshire" came to mind as a smart-alec ad tagline :) good for the Coast pieces.

Came away with a really useful workbook to get a handle on things - now just need to find some time to do it!

To follow up:
Work through book
Devise taglines etc. for collections, USPs

Artist's statement...

...had to submit our artist's statement this week, ready for the CONNECT 08 catalogue etc. Really good exercise actually, had a whole range as illustrations in the session - most appealing were short, simple, engaging...tried to incorporate this into mine. Getting feedback was crucial, tried to sound out as many people as possible, right across the board so as not to get 'yes men' replies - fellow CONNECTors, Jo, Uni colleagues etc. Feedback was really positive, and this is what I came up with:

First, take something beautiful. Then do one of three things:

· Emulate it
· Enhance it
· Entrap it

To me, that beautiful thing might be a discarded piece of stone, a lost language, an odd creature, a fluid moment. These are the things I love, the things I translate and transpose into something palpable, something desirable, something wearable.

Works in many contexts, doesn't refer to particular collections but can neatly be added to for particular purposes.

Beyond the Gallery...again

Have decided on the two BAFS students I want to work with - one is Victorian bridal who wants some striking headpieces - perfect for what I was looking to do. The other is all earthy colours, leather and feathers, want battered, patinated, almost rusting copper clasps for leather neckpieces - and the designs lend themselves perfectly to the Cagliostro characters, maybe with some Greek thrown in.

Hugely excited, next step is to get sketches done, get some materials together and go back in on 21st Feb to discuss further.

Presentation deadline is 1st May for their collections.

Beyond the Gallery

Made contact with Ann Draycott a couple of days ago re. working with the BA Fashion students on their degree show. She asked me to pop in the next morning as they would be having the first session of their Independent Study module that leads to the fashion show. Bit nerve-wracking, no idea what to expect.

Popped along, Ann introduced me, I said a bit about what I was planning to do, then spent the next hour or so milling around to gauge interest. Bit of a revelation.... kept getting grabbed by enthusiastic students wanting to add things to their collections. Ended up with 6 possibles in the end - way more than I'd hoped for. Have to thank Ann for selling the idea to them before I even opened my mouth, but the reaction was great.

All the interested parties' work looks great, and I can't wait to get cracking - will have to select one or two at most though, time being what it is. It's a shame as they're all fab.

To follow up:
Decide on one or two students - depending where the work sits with my own
Contact all interested and Programme Leaders with outcome by 8th Feb.

Inspiration

Looking further into the text side of things - uni library fantastic for books on alphabets etc.... found Cagliostro's magic alphabet, he was a C17th occultist who invented a set of characters for incantations etc...the characters are just beautiful.

Got me thinking about Victoriana, verging on gothic, dark metals, cushioned silks and so on. Their fascination with occult and spiritual matters comflicting with their renowned repression and strait-laced facade could work really well. I now need to find a way of transferring the text onto fabrics and metals.

To follow up:

Research printing and etching onto fabric/metal - methods, cost, using commercial companies?

Photography

VERY frustrated. Had photography sessions booked at Markeaton Street for the images for the CONNECT brochure. Had assumed, had been told, that we would end up with at least a few shots we could use - inferred from this that the photographer would be prepared for what we needed to shoot, i.e. had been informed what we each do and would bring the relevant equipment. As it turned out he was in no way prepared, so we spent a short while discussing rudimentary lighting, took a few sample shots and spent the rest of the afternoon tinkering around on the Faculty's Macs. Very nice, but as few of us can afford Macs or the software needed to seriously manipulate the photos, not very useful for the future.

There was the option of organising additional sessions afterwards, but having tried to contact the photographer three times, I have yet to receive a reply. Deadlines for the catalogue mean that I'll end up taking the images myself, as even the few shots I did get were out of focus and poorly lit.

In order to be satisfied that photos will show what I want them to show, I'll keep invesigating techniques, invest in a light tent and get a higher MP camera.

Oceania...

Been working more on the concept of coasts, oceans etc. From abstract wave forms like the ring on the right, to more literal pieces, e.g. a harbour wall pendant, complete with seaweed and rope :)

This and the Victoriana stuff will be my two main ranges for the exhibition I think. Exhibition meetings will get going in a couple of weeks so we'll be able to start thinking about the practical aspects at that point.

To follow up:

Consider/decide how many pieces for the exhibition, given time

Statement of intent assignment

Had our first assignments back off Heather on Monday. Main feedback was that I need to start looking in earnest at finance figures if I'm going to stick with the business plan...i.e....

1. make a judgement about how much I need to live on

2. break it down to periodic amounts, i.e. if £12000 per annum, then £1000 per month.

3. break down further - what activities will I need to undertake to make that £1000 a month; workshops/teaching, stock sales, commissions, wholesale to retailers etc.

Should be interesting - already makes it seem much more real, which is great, need an injection of reality at this stage, as getting too carried away with ideas.

Website

Have subscribed to MrSite, finally, and got my website on the way...

www.codejewellery.com




Had some good feedback so far - really easy to edit, will need to add the shop section next, and need to educate myself re. tags and keywords - think I'm most of the way there and it should be easier once the full text is on the site, will work on that tonight.

Happy New Year!

OK - 2008 here I come. Calendar is now updated with major details so far, will keep checking to see if it's following through from Google to Blogger...seems to be OK so far.

Need to stick to the list I made a few posts ago re. big things to do, a couple already crossed off, need to make sure I don't stall now I'm back at work and it's getting to our busiest time of year.

Shouldn't have to do any overtime this year though so fingers crossed will still have enough time to get things done. Silver and copper all on it's way, along with a few more bits of kit to boost the workshop - now just need to perfect the art of soldering without setting the attic smoke alarm off :)

Blog nightmares...

...apologies for the ridiculous delay since my last post - have had major password and access problems with my blog and it's only just been sorted out. Lesson learnt in terms of reliance on 'virtual' means of maintaining records!

Luckily I kept a written log, so I can now transfer all of that to the blog, with dates as relevant.