THE JEWELERS’ PALETTE, 1/1/2025
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From Warren and
Land of Odds
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JANUARY25
www.landofodds.com
January 1, 2025
Hi everyone,
Some Updates and Things Happening.
(Please share this newsletter)
In this Issue:
1. Trailblazers in the art jewelry scene
2. About mixing materials
3. Drilling pearls
4. Conquering the creative marketplace
5. David Szauder digital reels
6. Getting a letter of recommendation
7. Latest question from our members — please share your comments
8. Types of places which showcase jewelry for sale
Some articles you may have missed
Featured
1. What It Takes, Art Jewelry Forum Panel Discussion at NYCJW24
Art jeweler, educator, and AJF board member Emily Cobb moderates a panel that spotlights trailblazers in the art jewelry scene who have shaken things up with inventive collaborations and/or daring ventures. The panelists are Funlola Coker, Melanie Georgacopoulos, Roxanne Simone, and Mallory Weston.
2. I have some strong opinions about Mixing Materials. Here’s a synopsis of some of my ideas.
MATERIALS / MIXED MATERIALS
It is difficult to mix materials. The brain/eye interaction with various materials are often different, and this is unsettling for the brain. Painful. When this happens, the piece may get interpreted as unsatisfactory, not appealing, even ugly.
Example: Mixing gemstone and glass
With most gemstones, the light travels from eye to surface of the material, and continues below the surface, before bouncing back to the eye.
With most glass, the light travels from eye to surface of material, then bounces back. It does not penetrate the surface.
When mixing gemstone and glass, if the brain/material interaction requires a shift in physical perception, then this is often painful for the brain. If using gemstones, where the light penetrates below surface before bouncing back, then I’d choose a translucent glass bead where this physical perceptual activity mirrors that of the gemstone.
Let’s continue and take the example of an Opal bead. With opals, the light penetrates below surface, interacts with movement (fire), then bounces back to eye. If adding glass, I’d add silver lined translucent glass beads to mirror this effect. Light penetrates below surface, silver is a mirroring/shimmering effect which creates some of that movement below the surface.
If I had added silver lined transparent glass bead, the light would hit the surface and bounce back, with the silver lining creating a mirroring effect primarily reflecting back the color of the glass, but this would not duplicate the shimmering effect had the glass been translucent.
Now say I added an opaque black bead between each opal bead. The bead would have to be very small in proportion to the opal bead. I call this framing. If small enough, this would kick in the GESTALT cognitive behavior of the brain. It sees a ‘gap’, not a black glass bead, and fills in the space as if something similar to the opal bead were there. The Gestalt overrides the perceptual effects. However, if the black glass bead takes up too much volume relative to the opal bead, then the brain has to deal with the perceptual anomaly of light bouncing back and forth in different ways, which is painful for the brain. The Gestalt effect would not kick in.
Aesthetic Materials: Sensations and Symbolism
Materials have sensory and symbolic powers which extend beyond the materials themselves. Obviously, this can be very subjective. It might have psychological roots, sociological roots and/or cultural roots.
Things may feel warm, cold, soft, rough, oily, weighty. Things may represent romance, power, membership, religiosity, status.
Vanderbilt University’s colors are gold and black, so using those colors in the Nashville, TN area might evoke a different emotional response than when used elsewhere. And here’s that very-difficult-to-design-with University of Tennessee orange, again, in the Nashville area will evoke a very different response than elsewhere.
Materials like amber and bone and crystal are things people like to touch, not just look at. The sensation extends beyond the visual grammar.
The surface of a material has many characteristics which the jewelry designer leverages within the finished piece. Light might reflect off this surface, such as with opaque glass or shiny metal. Light might be brought into and below the surface before reflected back, such as with many gemstones and opalescent glass. Light might refract through the piece at different angles, even creating a prism effect.
The surface might be a solid color. It might be a mix of colors. It might be matte. It may have inclusions or markings. It may have fired on coloration effects. There may be tonal differences. There may be pattern or textural differences. It may have movement. It may have depth.
Best combine the materialistic qualities with the non-materialistic qualities of the project
Every material has two over-arching qualities. The obvious is its physical properties and physicality. Let’s call this materialistic. It is something that is measurable. In the realm of the mystic, it is ordinary or profane.
But the material also has qualities that extend beyond this. They can be sensory. They can be symbolic. They can be psychological. They can be contextual. Let’s call this non-materialistic. It is something that is non-measurable. In the realm of the mystic, it is extraordinary and sacred.
Both properties must be considered when designing a piece of jewelry. They have equal importance, when selecting, placing and arranging materials and design elements within a piece.
Example: Take a Chakra bracelet strung on cable wire with a clasp. The beads used are gemstones. Each gemstone has spiritual and healing properties. Each gemstone has a coloration, and each different coloration, too, is associated with certain spiritual and healing properties. Moreover, every individual has their own unique needs for which set of gemstones and which assortment of colorations are best and most appropriate. This can get even more complicated in that each situation and context may have its own requirements. The person may end up needing several Chakra bracelets for different occasions. The designer could have used glass or acrylic beads, instead, which have less non-materialistic value, and might be less durable over time. The designer could have strung the beads on elastic string without using a clasp, again, less non-materialistic value and durability.
When mixing materials, it is best to let one material predominate.
Some followup readings:
MIXING MATERIALS / MIXING TECHNIQUES
JEWELRY MAKING MATERIALS
3. A NOTE ABOUT DRILLING PEARL HOLES TO MAKE THEM LARGER
Pearls typically have very small holes. Because of how they are often drilled, the hole on one side is slightly larger than the hole on the other. The holes are small because it is too easy to chip and crack the nacre around the holes, when drilling them.
You can, however, make the holes a little larger. You could first try to use a hand-held or battery-operated bead reamer to make the holes in your pearls larger. You want your drill bits to be diamond coated. Sometimes this might work, but more often, you need something more powerful.
More likely you will want to use a dremel, with carbide steel drill bits.
Usually, your drill bits need to be between .5mm (1/50”) and .7mm (3/50”), with .5mm the most common.
With some natural pearls, however, you may need drill bits to be between .3mm (1/100”) and .45mm (1.6/100”).
For a large hole, you would want drill bits to be between 1.0mm and 2.0mm.
I keep a set of carbide drill bills between .4mm and 1.2mm.
You want to work slowly but steadily.
Wear safety goggles. Pearl dust can adversely affect your eyesight.
Until the 1970s, pearl holes were typically drilled by hand. Pearl companies from Japan would often have boys in India drill holes in pearls. They would hire and train boys who were 9 years old. By the time the boys were 14, many had lost their eyesight. Thankfully, with the advent of mechanized ways to drill pearls, this practice no longer continues today.
4. I have advised so many students and clients about taking their jewelry making to the creative marketplace and becoming a successful entrepreneur. In this book, CONQUERING THE CREATIVE MARKETPLACE, I summarized all my advice.
548pp, many images and diagrams
Kindle or Ebook or Print
HOW DREAMS ARE MADE
BETWEEN THE FICKLENESS OF BUSINESS
AND THE PURSUIT OF JEWELRY DESIGN
This guidebook is a must-have for anyone serious about making money selling jewelry. I focus on straightforward, workable strategies for integrating business practices with the creative design process. These strategies make balancing your creative self with your productive self easier and more fluid.
Based both on the creation and development of my own jewelry design business, as well as teaching countless students over the past 35+ years about business and craft, I address what should be some of your key concerns and uncertainties. I help you plan your road map. Whether you are a hobbyist or a self-supporting business, success as a jewelry designer involves many things to think about, know and do. I share with you the kinds of things it takes to start your own jewelry business, run it, anticipate risks and rewards, and lead it to a level of success you feel is right for you, including
• Getting Started: Naming business, identifying resources, protecting intellectual property
• Financial Management: basic accounting, break even analysis, understanding risk-reward-return on investment, inventory management
• Product Development: identifying target market, specifying product attributes, developing jewelry line, production, distribution, pricing, launching
• Marketing, Promoting, Branding: competitor analysis, developing message, establishing emotional connections to your products, social media marketing
• Selling: linking product to buyer among many venues, such as store, department store, online, trunk show, home show, trade show, sales reps and showrooms, catalogs, TV shopping, galleries, advertising, cold calling, making the pitch
• Resiliency: building business, professional and psychological resiliency
• Professional Responsibilities: preparing artist statement, portfolio, look book, resume, biographical sketch, profile, FAQ, self-care
TABLE OF CONTENTS
ACKNOWLEDGEMENTS
1. AN INTRODUCTION: CONQUERING THE CREATIVE MARKETPLACE
2. THREADING THE BUSINESS NEEDLE
3. Where Can I Sell My Jewelry?
4. Can I Make Money?
5. Why Designers Fail in Business
6. DISCIPLINARY LITERACY IN THE CREATIVE MARKETPLACE
7. GETTING STARTED IN BUSINESS
8. Write A Business Audit Memorandum To Self
9. Your Getting Started Story
10. Naming Your Business
11. Protecting Your Business Name and Other Intellectual Property
12. Tag Line, Descriptions, Naming Jewelry, Story, Elevator Pitch
13. What Do I Need To Become Official?
14. What Form of Business?
15. Retail, Wholesale, Consignment
16. Your Business Model
17. Custom Work
18. FINANCIAL MANAGEMENT AND RETURN ON INVESTMENT
19. Understanding Risk and Reward
20. Tracking Costs and Revenues With Bookkeeping and General Accounting
21. Other Record Keeping
22. Fixed and Variable Costs, Budgeting, Break Even Analysis
23. Managing Inventory
24. Efficiency, Effectiveness, Component Design Systems
25. Employees and Independent Contractors
26. Banking, Insurance, Credit Card Processing
27. Getting Terms
28. Getting Paid
29. Developing a Growth Mindset
30. Crowd Funding
31. PRODUCT DEVELOPMENT
32. Product Goals
33. Product Target Market / Market Niche
34. Product Design Management and Design Coherency
35. Build A Distinctive Line Of Jewelry
36. Product Production
37. Product Distribution
38. Product Marketing, Promotion and Positioning
39. Product Pricing
40. Product Launch
41. Product Feedback and Evaluation
42. MARKETING / PROMOTION / POSITIONING
43. Finding Your Target Market
44. Competitor Analysis
45. Fashion and Consumption
46. Influence and Persuasion
47. Marketing Strategies
48. Social Media Marketing
49. Collaborating With Influencers
50. Increasing Credibility and Legitimacy
51. Building Your BRAND
52. Self Promotion and Raising Your Visibility
53. Writing A Press Release and Preparing For Reporters
54. SELLING
55. How Will You Link Up Your Product To Your Buyer?
56. Knowing Your Competitive Advantages
57. Training and Educating The Customer
58. Selling At Art And Craft Shows
59. Selling Online
60. Selling In Local Shops, Boutiques and Department Stores
61. Consignment
62. Selling In Galleries
63. Selling At Home Shows
64. Selling At Trunk Shows
65. Selling At Jewelry Making Parties
66. Selling Through Mail Order Catalogs
67. Selling On TV Shopping Sites and Streamed Web
68. Selling Through A Mobile Truck Business
69. Advertising
70. Cold Calling And Making The Pitch
71. Working with Sales Reps, Agencies, and Show Rooms
72. Selling At Trade Shows
73. Teaching Classes and Selling Patterns and Kits
74. Other Selling Venues
75. About Contracts and Agreements
76. Overcoming Setbacks and Fears of Rejection
77. Relying On Other People To Sell Your Jewelry
78. Saying Goodbye To Your Jewelry
79. Merchandising and Display
80. DesignerConnect — Interview With Tony Perrin
81. RESLILIENCY
82. PROFESSIONAL RESPONSIBILITIES
83. Artist Statement
84. Portfolio and Look Book
85. Biographical Sketch and Profile
86. Resume or Curriculum Vitae
87. Certificate of Authenticity
88. FAQ: Frequently Asked Questions
89. Self Care
About Warren Feld, Jewelry Designer
Thank You and Request For Reviews
Other Articles and Tutorials
5. Although this has nothing to do with jewelry per se, this guy’s (David Szauder) digital reels on instagram are so phenomenal, I wanted to share them with you.
https://www.instagram.com/davidszauder/
https://www.instagram.com/reel/DDXLVPzIWXK/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==
https://www.instagram.com/reel/DC4RZuNoeup/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==
6. There will be occasions where you might need a letter of recommendation.
There will be occasions where you might need a letter of recommendation. You might be applying for a grant or some other source of funding. You might be trying to get your pieces into a gallery or high-end boutique. You might be submitting a piece to a juried competition. You might be searching for a partnership or collaboration or guidance.
You might request this letter from a mentor, a colleague, someone familiar with your work, or a gallery or boutique owner.
You want that person, in the context of that letter, to refer to your competitive advantage. That is how you differentiate yourself from other jewelry designers. It suggests that taking a risk on showing/selling your works is worthwhile. Some examples of describing your competitive advantages:
- innovative, originality, differentiation
- sells well, clear and predictable client base
- experimenting with new materials, techniques or technologies
- responsible, always timely, communicates well with client during process
- open and willing to learn, adaptable, flexible
Continue reading this article on our Jewelry Designers’ Hub.
7. In our jewelry designers’ hub, I post questions students and customers have related to jewelry design, either the techniques, the materials, or the business. Here’s one of the latest. Please share your responses on the hub.
8. I am often asked where you can showcase your jewelry for sale.
There’s the obvious: Boutiques.
Then the less obvious:
Beauty parlor (usually the law prevents jewelry sales, except in a separate lobby waiting area)
Nail salon (usually the law prevents jewelry sales, except in a separate lobby waiting area)
Spa, massage shop, tattoo shop
Hotel lobby gift shop
Museum, art center gift shop
Farmer’s markets
Art and craft shows
Holiday markets
Antique stores
Libraries
Flea markets
Art galleries
Where it becomes worth your while, you want to showcase your jewelry in places your typical “client” would go to, but not where it is stressful, like a doctor’s office.
At the least, you want to maximize your exposure.
- Ask the business owner to host a reception where their customers could meet you. This is a win-win. The business gets to build better relationships with their clients, and you get exposure.
- Assess how secure your pieces will be, and whether you can live with whatever security there might be.
- Be sure to post statements about your inspiration and creative process with each piece of art. Have business cards there. Be sure there are obvious ways a person can find you outside of this business. Be sure it is obvious how someone can purchase any of your pieces.
- Set a time limit for showcasing at this business. 1–3 months is a good framework. If there is a lot of interest in your work, you can repeat with another exhibit.
- Check in on the display regularly to make sure your haven’t run out of promotional materials, like your business cards, and that things are still displayed well.
- Determine what percent of sales will go to the business and what percent to you. Best arrangements: 60–40, 50–50, 40–60. When the arrangement is outside this range, this is a yellow flag indicating that your exposure (and sales) probably is not worth the risk of your time, resources and energy.
Please Share Your Thoughts and Experiences
And don’t forget to use this 25% discount code
throughout January at Land of Odds!!
Use January’s Discount Code
For Extra 25% Off @Land of Odds:
JANUARY25
www.landofodds.com
SOME POSTS YOU MAY HAVE MISSED:
FLUENCY IN DESIGN: The Journey Begins
FLUENCY IN DESIGN: How To Speak, Think, Work As A Jewelry Designer
FLUENCY IN DESIGN: I Am A Jewelry Designer
FLUENCY IN DESIGN: The Bead Store
The Jewelry Designer’s Orientation To Choosing and Using Clasps
The Musings of a Jewelry Designer: DESIRE
Feature your jewelry
Here next week
In This Newsletter,
as well as,
on our Jewelry Designer’s Hub!
Email a post (text and/or image) to warren@warrenfeldjewelry.com.
Promote your current projects, promotional copy, News & Views, videos, reels, tutorials, instructions, social media posts online in this newsletter and on our jewelry designers’ Patreon hub.
No deadlines! Opportunity available all the time. No fees.
But don’t wait to take advantage of this opportunity.
This copyrighted material is published here with permission of the author(s) as noted, or with Land of Odds or Warren Feld Jewelry. All rights reserved.
Repairs Stumping You?
Let Me Take A Look
I take in a lot of jewelry repairs. People either bring them to me in Columbia, TN, or, I pick them up and deliver them back in Nashville. I am in Nashville at least once a week. It’s been convenient for most people to meet me at Green Hills Mall. But if not, I can come to your workplace or your home. This is perfectly fine for me. My turnaround time typically is 3–4 weeks.
I do most repairs, but I do not do any soldering. I also do not repair watches. These are the kinds of repairs I do:
o Beaded jewelry
o Pearl knotting, hand knotting
o Size/Length adjustment
o Re-stringing
o Wire work/weave/wrap
o Micro macrame
o Broken clasp replacfement
o Earring repair
o Replace lost rhinestones or gemstones
o Stone setting
o Stretchy bracelet
o Metal working which does not involve soldering
o Bead woven jewelry and purses
o Beaded clothing
o Custom jewelry design
View my How-To-Repair-Jewelry videos on our Jewelry Designers’ Hub.
My most recent how-to: Converting 3-Strand Stretchy Bracelet to Cable Wire W/ Clasp
WARREN FELD JEWELRY (www.warrenfeldjewelry.com)
Custom Design, Workshops, Video Tutorials, Webinars, Coaching, Kits, Group Activities, Repairs
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Thanks for being here. I look forward to sharing more resources, tips,
sources of inspiration and insights with you.
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