Lisa Call

Artful Home

The Artful Home Studio Sale started today or maybe it was yesterday.

Either case you can peruse some of my older artwork that I don’t think I’ve ever shown online before. When I moved I came across some older work from my embellishing days. Lots of beads and buttons on these. I’ve also added in a few of the older pieced artworks also.

It’s a fun trip down memory lane for me to look at this work so I’ve decided to show them on the blog as a group as it’s fun to see our history.

Space Donuts

My preschool aged son wanted help with this quilt, so I let him name it. I love what he came up with.

This quilt is collage appliqued, machine quilted with rayon and metallic threads and hand beaded.

Space Donuts
© 1998 Lisa Call
25.5" x 21.5"
Quilt (fabric, beads, trim, threads, batting)
$1590 $795 – on artfulhome

 
Detail Image:

Chicken Quartet #1

A singing chicken! A group of 4 embroidered cocktail napkins found at a garage sale were the inspiration for this fun wall art.

The quilt is composed of commercial cotton fabric over dyed fabric by the artist and a selection of vintage fabrics to compliment the chickens. The piece is heavily embellished with beads and buttons for an updated folk art look.
 

Chicken Quartet #1
© 2004 Lisa Call
12.5" x 13.5"
Quilt (fabric, buttons, beads, batting, thread)
$700 $350 – on artfulhome

 
Detail Image:

El Niño

In 1997 they predicted would be a wet year for the western part of the United States due to the warming El Nino currents in the Pacific Ocean. In October my home in Colorado was buried beneath 3 feet of snow overnight. This quilt is the result of being snowed in that weekend.

Collage appliqued, heavily embellished with machine quilted with rayon and metallic threads and hand beaded.

El Niño
© 1997 Lisa Call
34" x 31"
Quilt (fabric, buttons, paint, batting, thread)
$990 $495 – on artfulhome

 
Detail Image:

Chairs #6

Chairs No. 6 is part of a series of work that was inspired by the shape of my kids’ highchair. They spent a lot of time there and I spent a lot of time washing it. So it was bound to inspire my artwork. Bright colors combined with black and white result in a very graphic and cheerful composition

Free hand cut, pieced and quilted with swirling quilting patterns in multiple complimenting colors on a home sewing machine.
 

Chairs #6
©2000 Lisa Call
18" x 18"
Quilt (fabric, batting, thread)
$390 $195 – on artfulhome

 
Detail Image:

Blossoms II

Japanese style cherry blossoms embellished with button centers. The irregular shape was fun to work with.

Raw edge applique, machine quilted, painted, embellished.
 

Blossoms II
©1997 Lisa Call
34" x 31"
Quilt (fabric, buttons, paint, batting, thread)
Sold

 
Detail Image:

Insalada Caprese

Fresh Mozzarella and Tomato Salad – a summer garden inspired artwork. A simple recipe that requires little effort (cut up cheese and tomatoes and drizzle with olive oil) and it sounds so yummy in Italian. The green is for a bit of fresh basil to make the dish (and art) more interesting. And of course I don’t grow just red tomatoes in my garden but also orange and yellow ones also.

Hand dyed fabric by the artist, cotton batting, cotton thread. Free hand cut. Pieced and Quilted on a home sewing machine.
 

Insalada Caprese
©2002 Lisa Call
34" x 31"
Quilt (fabric, buttons, paint, batting, thread)
$1190 $595 – on artfulhome

 
Detail Image:

Quick update – I’ve completed my hand dyed fabric for sale webpage – if you are interested in purchasing my 100% cotton pimatex dyed fabrics you can do so here: Hand Dyed Fabric by Lisa Call.

Lines #25
Textile Painting – Mounted on stretched canvas
©2009
3" x 3"
Sold

Motivation

Today I asked my friends and followers on facebook and twitter “Why do you buy art?”

I received about 25 responses and then summarized them on a page for everyone to read. It’s here: Buying Art.

As an artist looking to sell my artwork, this information is quite interesting and very helpful. Most of the people that responded are artists so the larger art buying population might have a different take on things, or maybe not.

My hope is that over time a larger group of people will find that page and more information can be gathered (you can add your response to the page and vote for the comments you like). If this is interesting to you, please pass the link along to your audience and we’ll see how it goes.

Connection

My answer isn’t on there but there are some close ones. The feeding my soul one comes close. And the obvious – I buy art I love – art I’ll want to look at for years.

I buy art mostly from people that I know something about, many that I was introduced to online and have had conversations with. The story behind the art is part of the compelling reason to buy someone’s art. Owning someone’s art is a connection to the artist and part of the appeal.

Hugh McLeod has been talking alot about art being social objects. Interesting thoughts. He’s posts about considering collectors as art users are definitely something to think about.

 
Why do you buy art?

 
PS : The newest buzzword from gapingvoid is cube grenades. My small 3″ textile paintings, like the one above, would make excellent cube grenade. Want to start a conversation at the office? Hang a textile painting on the wall! [Update - the piece above sold a few minutes after I posted my blog entry but there are more available here: Affordable Art For Sale.]

Home #8
©2008
6" x 6" – Mounted on stretched canvas
Sold

Pricing Art

Pricing always seems to be a difficult topic for artists. Are we charging too much, too little? Are we competitive? What about the economy? Etc.

Our artwork is personal and pricing it is very personal. Putting it out there to sell takes a leap of faith. Putting it out there and declaring it has $X value is really putting oneself on the line. Rejection is never fun.

Last year I finally jumped in and started selling my art, leveraging my word of the year courage.

This year I looked at my word expansion and did a bit of math. Selling art at the prices I was selling it ($30 for a small piece that take 3 hours to make, market and ship makes for an income of less than $10 an hour if I include overhead) and realized that my art would never be my career if I didn’t start taking ownership for its true value.

New Prices

The time has come to expand and get serious about the art career. On February 1st I will be increasing the prices on my textile paintings.

I’ve spent many hours working out the details and final pricing. Encouragement from my mentors, my coach, artist friends, folks on twitter, and the thoughts in this article: The Art and Science of Pricing helped me solidify my thoughts.

I’ve also spent much time wondering how to roll out this change. Quietly or with a big splash? What do I say? Do I have to justify myself?

I looked at my other word of the year, integrity and decided to go with authenticity. Simple words and a heads up for those that have expressed interest in the work.

The prices are going up, not a little like 10%, but a lot to reflect the real value of my art, which is unique, powerful, gorgeous and to boot – it’s extremely well made. To give you a feel for what to expect, the above piece will be $350 on February 1.

A Good Time to Buy

If there is a piece of art you are interested in now would be a great time to purchase. Not only do you have a beautiful new piece of original art to enjoy you will have an excellent investment as it will appreciate practically overnight when my prices go up.

If you are still saving for a specific textile painting let’s chat and I can set up a payment plan. I’d love for you to own the artwork you have your eye on. Please email me with any questions.

Here’s a link to my small artworks for sale website if you’d like to browse my currently available small works: Small Textile Paintings For Sale.

Multiple Income Streams

If you do any reading about small businesses one of the top pieces of advice out there is about multiple streams of income. Not putting ones eggs all into 1 basket. I’m very serious about supporting myself through my artwork and quitting my day time job. I feel this is advice worth listening to. The smaller affordable art is just one of many ways for me to make a living.

I love making the larger pieces and while I am not yet selling a substantial number of them each year, they also provide part of my income. I do believe they will always make up the largest percent of my income but I don’t want to rely on this income exclusively.

I don’t make nearly the profit on these smaller textile paintings as I do on my larger work. They are quite labor and time intensive for the size and price. I figure I make about $5-$15 an hour on the pieces under $100. Not horrible but certainly not in line with what I make as a software engineer.

While I could probably scrape by selling only work under $500, if I really focused on this segment of the market, that is not my intention. I view this as one of many ways of sharing my art and passion with the world. When combined with my other streams of income I believe I can make this work.

Fine Art Department

Tracy Helgeson, one of my favorite oil painters, wrote a blog post about her art selling experiences and talked about why fine art makes for a really great gift this year.

To that end she started a new blog showcasing artist that are selling their art directly to the public called Fine Art Department. It’s a really wonderful looking group of artist so again, if you are thinking about buying art this is another possible avenue to find just the right gift this year.

I find it interesting, and maybe a sign of the times that 2 artists have started this type of online collection recently (yesterday’s mention of small art showcase is the other example). Seems like many of us are feeling that selling our work directly to the public is a good option right now.

Construction Update

As you can see in the photo above the excitement today is about the walls for my new studio. Woohoo – I’m absolutely thrilled with how the studio is looking. Ten foot high walls – a high ceiling. I’ve wanted this in a studio for years and now I’m just a few months away from having it.

Construction photos – Nov 21. Studio walls and a few new windows.

I got my house cleaned up and put back together after all of this work and am ready to head to the studio this morning. I might have a few interruptions while they move electrical lines but I’m excited to get to work on some new pieces. I’ve already selected the fabrics and and going to work on a new piece in the Home series this morning.

Lines #4    ©2008    8.5" x 11"

A New Project

The above drawing was made during my day job [looks better if you click the image for a larger view]. Each time we start a new project at work my job description is "Go To Meetings". Lots of talk about what the project is about, how are we going to organize and then all the technical blah blah blah. I listen, take notes, think brilliant thoughts, etc.

And I draw. Mostly lines. I’m really good at drawing lines. I used to draw things but I’m not as good at that and I can’t do that and pay attention at the same time. Drawing lines helps me pay attention, because it ensures I’m awake, which is a key feature of paying attention.

Are You Social?

The current work project is interesting. We are looking at social networking. Hence me finally caving in and going to twitter. We are encouraged to have a social networking presence to understand the space. I think they intend for it to be work related. I have, well, zero interest in that. So facebook and twitter and all that – for me it’s mostly art related.

Twitter has been interesting. Kinda fun. It’s a disjointed conversation but more entertaining than I expected. At some point I’ll figure out how to put my tweets in the sidebar (see that Pam – I said tweets). And more importantly I’ll figure out what the true value of the thing might be.

Be My Friend

Here are a few of my social networking profiles. You are welcome to friend me or follow me or whatever the phrase might be.

Lisa Call on Facebook

Lisa Call on Twitter

Lisa Call on Linkedin

All Over the Place

I have a myspace account but completely ignore it as I’m not a musician nor am I 12 years old. I have some accounts on some ning communities but they haven’t taken off yet either and I don’t really have time for them so we’ll see how that goes.

I have a squidoo lens on art quilts with ideas for a more and now we have google knols (I have the outline for one on textile paintings with no content yet).

One of the things on my todo list (ie I have a user story for it) is to get a handle on my web presence and bring some kind of structure and understanding as to the value of each piece and the effort needed to maintain or enhance that value.

What’s your online presence like? Which pieces bring you the most value?

Structures #18    ©2003    8" x 9"

 
More thoughts on the design principles from my kids’ Expeditionary Learning school and how they relate to being an artist.

Design Principle #2: The Having of Wonderful Ideas

Teach so as to build on children’s curiosity about the world by creating learning situations that provide matter to think about, time to experiment, and time to make sense of what is observed. Foster a community where students’ and adults’ ideas are respected.

Who doesn’t want to have wonderful ideas? And even better having those ideas respected. Did I mention I love my kids’ school? The kids are treated with respect and the teachers listen to their ideas. What an excellent way to build self-esteem.

Wonderful Ideas and Art

That design principle touches on a lot of points that I think are vital to making art.

1. Matter to Think About: ie Ideas. Art is all about ideas. Without an idea I don’t think an artist can start making a piece of art. Artists need a stockpile of ideas to inspire their work. They need to constantly feed their imagination and keep inspired. I find that the more I create the more ideas I generate.
2. Time to Experiment: Not every idea is fully developed and ready to turn into a masterpiece. I find that I need some time playing around and trying out different variations to flesh out some of my ideas. Playing around with materials with no set purpose in mind is another way to generate great ideas.
3. Time to Make Sense of what is Observed: After creating artwork I spend a fairly good chunk of time sitting back and looking at it. Thinking about what works, what doesn’t, where I want to go next, what I can improve upon, what I can do more of, what I can do less of, etc. I take notes in my sketchbook to keep track of these ideas.
4. A Community where Ideas are Respected: Putting ones artwork out into the world can be a scary thing. It’s hard not to take it personally when our art, which is a reflection of our ideas, is not accepted. Having a safe community that an artist can share their work is powerful. I’ve been a member of artist communities, both in real life and online, for dozens of years. The support and friendship are invaluable to building ones confidence in ones art (and ideas).

Design Principle #3: The Responsibility for Learning

Learning is both a personal, individually specific process of discovery and a social activity. Each of us learns within and for ourselves and as a part of a group. Every aspect of a school must encourage children, young people, and adults to become increasingly responsible for directing their own personal and collective learning.

As artists there are many things we need to learn. From mastering our craft to marketing our art. There are uncountable sources for learning anything we want to learn. Taking responsibility for that learning is instrumental to our success. If I want to sell my art I have to learn to market my art. No one owes it to me to teach me these things or do these things for me. I need to go out there and learn how to do it. I spent years perfecting my craftsmanship and my art is impeccably made and I’m proud of it. It’s now time to take responsibility for my art business education also.

Structures #18 – Moving Sale

Structures #18 is one of the first pieces in the Structures series with thin lines. It’s also available as part of my moving sale. Originally priced at $150, it is $90 until June 15.

If you are interested in purchasing Structures #18, or any of my available artwork please email me.

Detail of Structures #18:

Structures #62    © 2007    33" x 19"

A Slow Reply

Eight or nine months ago Meagan asked me the following question on one of my posts:

Something a little off topic, but still related: How do you know when your art work is “good enough” to start marketing it? (Obviously this isn’t a problem for you, Lisa, since your art is amazing!) Previous commenters (Ed) have mentioned that in the beginning of their career, they sold stuff that really wasn’t very good. How do you know when your art work has reached that particular level?

I’ve had a draft of this question sitting around waiting for an answer ever since. As I wasn’t up to a dissection of my studio newsletter as promised, I decided to go back and deliver on an older unanswered query.

It’s about Growth

The article I wrote was about selling my artwork (click to read). My thoughts have changed over the years and today I will answer this differently than I might have 3 or 5 or 8 years ago when I was not looking to pursue an income generating career from my art.

Today my answer is: You are ready to start marketing your artwork when you are ready to take that bold step and put yourself out there. It’s a big leap as it comes with many risks but also many rewards.

Sure, five years from now you might look back and think "Oh my gosh, I can’t believe I tried to sell that junk." But that’s the future. What matters is right now, today, this moment. How do you feel about your artwork? Are you happy with it? Do you think it is good? Do you want to market it? Great – go for it.

And I don’t think that’s such a bad future, to be a bit embarrassed about your work from years back, because it means you are growing as an artist. This is a great thing. Maybe something to look forward to.

How Will You Handle Set Backs

Artists are often advised to ask others for opinions about their work. Is it good enough? Will it sell? While this isn’t bad advice I’m not sure I’d recommend that. I suggest just going with your intuition. If you have the desire and resources to market your artwork, then go for it!

What’s the worse thing that could happen? You might fail on first try. The question is, what will you do with that failure? Will you let it destroy your dream? If so maybe you aren’t ready. I think this is probably the single most important question to answer.

Sure you might never face rejection, but chances are good you’ll face more than a few "we aren’t interested" situations. As Christine Kane says:

SWSWSWSW: Some will. Some won’t. So what? Someone’s waiting!

[Read her excellent article about not taking things personally here]

Even if you do face failure you might learn something. You might get better and grow. You might find new ways to do things. You might meet people that want to help you over that hurdle.

When you are ready to fall down and get up and keep on going. That’s when you are ready.

I’m Finally Ready

I’ve been making art that I really love for the past 10 years. Yet I’ve never taken the leap to go after an solid income with my art. I always have an excuse:

• I need to build up cash reserves.
• The kids are only at home for a few short (18) years.
• This work isn’t quite good enough yet.
• No one buys art quilts.
• I could never replace my software engineering salary with an art income.

Well, no more. I’m doing whatever it takes to get rid of the day job and replace it with the art income.

First up on the list of to-dos is to sell the house that requires a really big income. If I wait until I have enough money from my art to pay this mortgage it could be a pretty long wait. So I’m short circuiting that problem and downsizing.

It’s a huge task and when I think of all that needs to be done to get this huge home on the market I freak out, which is the reason I’m still here. I thought about moving 6 years ago after my divorce and then again 3 years ago, but I didn’t have the courage to do it.

Now it’s the year of courage, which gives me the focus needed to work through all that needs done. I don’t think about the huge list of to-dos. I make short lists of easily doable tasks. Things I can accomplish in a few hours. I’m just focusing on each step, one and time, and steady progress is made every day.

In the meantime I’m not ignoring my art. I’m in the 7th day of Artist Breakthrough Program with Alyson Stanfield and it’s fabulous. I’ve made huge strides in getting my new website ready to go. Tomorrow I’ll blog about how I did with my goals this week and what’s up for next week.

And yes – at some point I’ll write about all I learned when doing my studio newsletter. Hopefully you will not have to wait 8-9 months for that answer.

The above image was the one I selected for this post 9 months ago, I can’t tell you why. It’s orange. Maybe that was it.

Square Dance #1    ©1999    14"x 14"

Miscellaneous Stuff in Random Order

• This week I received Alyson Stanfield’s new book in the mail – I’d Rather be in the studio! It’s beautifully designed and full of tons of useful promotion ideas and strategies for artists. I definitely recommend this book, and not just because I’m quoted. I helped Alyson by looking over the chapter about having an online presence and she turned one of my comments into a quote. Okay she had me write a quote in relationship to something I said about blogging. Check out page 112 for my brilliant comment.
• Super talented artist Deidre Adams has started a blog. She photographed some artwork for me and in exchange I showed her how easy wordpress is to use. So now we can all enjoy Deidre’s Blog.
• Today the last of my 450 postcards to promote my solo show Markings: Repetition and Pattern arrived. I order from Vistaprint – in several small orders (it’s the cheapest way) so they’ve been trickling in the last week. Tomorrow I’ll print out labels and stamp them and get them in the mail. I’m very happy we now have self adhesive stamps.

Making Room for the New

I’ve been listening to Cheryl Richardson on CD recently and she reinforces something that Christine Kane talks about in her retreats and eseminars. That of getting rid of things to make way for creativity and passion. I made a detailed list (what a surprise) of all the clutter in my house and I’m slowly tackling each corner, ruthlessly purging piles of stuff that I no longer need or want or that drains my energy.

One thing I’ve decided to do is sell most my older artwork. Much of it is hidden in a closet and serving no purpose. I’d love for it to find a home in this world if it speaks to someone. I hadn’t hit upon how to go about doing this but the other day when photographing artwork for some reason I grabbed this piece and added it in. I think the universe was telling me to just do it and stop thinking I had to have the perfect plan.

Beads

I love all of the work I’ve made in my path as an artist. I used to not feel this way, and hence it’s hiding in the closet. Sure some is better than others but all of it shows my growth,choices and progress. There is nothing to be ashamed of and there are some really cool pieces lurking in there.

I went through a phase where I was obsessed with beads. Bought tons of them. Thought I’d sew them on all my quilts. Instead I made just 2 or 3 embellished pieces. I then moved to the next thing in my development

[side note - the last year or so I got back into some beading work and when I finish the piece I'll post it. I still love the beading - I just love the type of work I do now more. That's a topic for another day - why I choose to narrowly define my focus with my artwork.]

The piece here, Square Dance #1, was started in a workshop with David Walker many years ago. I quilted it and added the beads later, completing the piece in 1999.

Detail of beading:

 
I’ve thought about listing these pieces on ebay or etsy but decided to list them on my website for now. As I work on the redesign to incorporate them I’ll list a few here on the blog.

This artwork is for sale and is $50 Sold. It’s signed Lisa Leutenegger on the front (as are all pieces made before 2001) and I’ve resigned it on the back with my birth name (Lisa Call).

Page From My Sketchbook (click to see larger image)

Tracking Studio Time

Sylvia asked me to talk about how I determine the hours when I posted that I spent 865 hours in the studio last year.

I started doing this when my accountant told me that he thought that it was very important to be able show that I was treating my art as a business should I ever be audited. He felt the number of hours spent engaged in the activity was important information to track.

I’ve tried different formats for tracking this information and the above image from my sketchbook is what I did last year. I like the hand drawn page better than doing it on the computer.

Incorporating it into my sketchbook keeps me connected to the sketchbook on a near daily basis. Good for both keeping the tracking current and for using my sketchbook as I intend for ideas and sketches. I keep the book accessible and open on a table in my studio at all times.

I write down the number of hours spent each day and a brief note about what I was doing.

A few years ago I decided that by setting specific goals for what work I wanted to complete was creating stress when I failed to meet the goal so I decided to switch to setting goals on the number of hours spent in the studio and not worry about what I specifically accomplished. I blogged about this in June of 2006.

For a while I found this to be the solution and it helped me balance my life but last year I found myself right back to the same place being stressed by that magic number of 20 hours in the studio.

No More Ego

In retrospect I realize I did not address the real problem. The real problem is my ego and my judgment of my performance. Last year there were also some additional issues of hiding behind my arbitrary goals to avoid situations I should have dealt with in a healthy manner insteadt of pretending they weren’t a problem.

For 2008 I will continue to track my studio time because not only does it provide useful records for the IRS I find it helps keep me accountable and in my studio. But this year I’m going to approach it in a healthier way. I am not going to set any specific goals for the number of hours to spend each week. Instead I will just write it down and total it up for the month.

I’ll place no judgment on how I did. No more "hurray I made the goal" or frowny faces if I don’t spend time in the studio. Those value calls are unnecessary. I don’t need to label it either good or bad. It is what it is.

I will not keep a running total from month to month and I won’t track the number of hours short or extra I have done. That’s just a recipe to make myself feel bad or boost my ego, which needs no encouragement.

My true desire is to work in my studio and I know that will happen, I trust my intent is enough for it to happen. I know when I spend that time that I am happy. Spending more hours spent does not make the happiness in some way better. It’s just my ego wanting to feel good about itself. I don’t need or want that.

At the end of the year I’ll total up all the hours and irregardless of the outcome I will be content knowing I put in the hours that were right for me.

Goals

All this doesn’t mean I’m not going to set goals for my studio. I will continue to do this in a healthy way of setting intent. It keeps me focused and focus is a great thing. Action is good. I’m not going to judge how things go – if I don’t make the goal I’ll just keep working on it. No ego – just pure joy.