Vancouver Metal Arts Association
VMAA
September 2016
From The Editor Now that we are back from summer holidays, it’s time to get back to working in our studios, sitting at our benches and ramping up for the upcoming holiday season.
This brings me to membership. Why join? Besides enjoying the company of your fellow jewellers and metalsmiths, membership has it’s benefits. Discounts for sponsored exhibitions, workshops and events, fun member events
It’s also a great time to introduce our new format for
such as our socials. Members participate in projects such
the VMAA news. We’ll be putting out a newsletter with a
as the Dress for Success jewellery project to help women
quarterly magazine format, timely updates in your inbox
getting back into the workforce. We’ll also be introducing
with our newsflashes and regular content on the blog.
member galleries to our website in the near future. As well,
With our new website, we have a much better way to keep
our website and newsletter will also be featuring profiles
you informed on all the great things happening with your
on our members and notices for your exhibitions and
association.
events. It’s only $25 a year so why wait to sign up?
Dana Reed
CONTENTS The Vancouver Metal Arts Association (VMAA) is a community of jewellers, blacksmiths, sculptors, mixed-media artists, enamelists, and others who work with metal or have an interest in the jewellery and metal arts. The VMAA was established as a non-profit society in British Columbia in 2012 with the purpose of offering a forum for jewellers and metalsmiths to exchange ideas and technical information, organize exhibitions of jewellery and metal work, and increase public awareness of the jewellery and metal arts. Each member of the VMAA decides what his/her level of involvement will be. Dues are collected to cover modest administrative costs. Please join us!
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VMAA BOARD President: Louise Perrone president@vancouvermetalarts.com Vice President: Lexie Owen vicepresident@vancouvermetalarts.com Secretary: Jessica Atkinson info@vancouvermetalarts.com Treasurer: Urszula Petrykowska payments@vancouvermetalarts.com Newsletter: Dana Reed news@vancouvermetalarts.com Social Media: Cory Douglas media@vancouvermetalarts.com Education: Louise Perrone education@vancouvermetalarts.com Engagement: Stephanie Menard engagement@vancouvermetalarts.com Exhibitions: Julie Kemble exhibitions@vancouvermetalarts.com Member at Large: Carmel Boerner
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Feature Member: Fia Cooper
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EXHIBITION REVIEW Jewelry Dialogue: On and Off the Body
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Professional Profile: Suzanne Nairne
04 05 09 15
VMAA President’s Letter Upcoming Events Opportunities and Calls for Entry For Love and Money
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EXIBITION: Hammer, Stitch, Cut, Repeat The dark art of pricing Member News
VMAA President’s Letter Dear Members,
Biennial 2016: Metalmorphosis currently showing at
I hope you’ve all had an enjoyable summer. For many
it out, or if you want to make a weekend of it the Seattle
people in our community summer can mean time spent working, selling at the many craft markets, fairs & shows that happen this season. For others it is the opportunity to take advantage of our beautiful province & spend time in nature! Jan Smith & I spent a large part of the last few months preparing for our show “Jewellery Dialogue: On And Off The Body” currently showing at the Craft Council of BC’s gallery Crafthouse on Granville Island. If you are in the area please check it out - it will be there until the end of September. Whilst you are there I would encourage you to visit Circle Craft where another exciting jewellery exhibit is currently showing - Hammer,Cut, Stitch, Repeat features the work of Patsy Kolesar, Simone Richmond, Rachael Ashe, Nell Burns & Su Foster. The call for submissions for our exhibition Unexpected has now closed. We had an amazing response to the call with applications coming in from near & far. You should hear whether or not your work was selected by the end of the month. It is going to be a fantastic show - thank you Lexie
Bellevue Arts Museum. If you are in the area, do check Metals Guild is hosting their Annual Symposium on the 14-16 October. They have a really exciting line up of speakers including Susanne Ramljak, David Bielander & Jim Cotter. You can read all reabout it here https://www. seattlemetalsguild.org/programs/symposium/. Several of our members will be attending, so if you are looking for a ride or have space in your car, please consider contacting Dana Reed at news@vancouvermetalarts.com and she will help coordinate that. Many Thanks Dana! Finally, I would like to give you all the opportunity to get more involved with the VMAA. Our association is growing and we need your help! There are many ways that you can contribute. Firstly, if you have any news, reviews or articles we would love to include them in our newsletter. Please email Dana Reed at news@vancouvermetalarts. com. We are looking for volunteers to serve on our various committees. If you have expertise in one of the following areas we need you: organizing social events
organizing educational
social media
events
There are many exciting events happening for the VMAA
accounting
fundraising
this season. An unmissable event is the Q&A session I will
organizing exhibitions
be chairing with Brigitte Martin, President of the Society
We are also looking for new board members for May 2017.
of North American Goldsmiths & editor of the Crafthaus
If you have experience serving on a board or would be
online community. She has a wealth of information about
interested in joining ours please email me at president@
all things related to the business & art of jewellery, metals
vancouvermetalarts.com for more information.
Owen & Julie Kemble for all your hard work on this!
& fine craft. I have received some of the most useful guidance from Brigitte over the years & I encourage you all to come out & hear what she has to say & ask those burning questions. After the event we will all be heading out for an informal social gathering. Please join us! I have heard some very good things about the BAM
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Looking forward to seeing you all soon. Happy making!
Louise
LECTURE + EVENT| An Evening with Brigitte Martin Monday Sept. 26 Details: Brigitte Martin is editor of Crafthause online and new president of Society of North American Goldsmiths (SNAG). Louise Perrone, VMAA President, will host an discussion with Brigitte, with a Metals Mixer to follow at Dockside Pub in the Granville Island Hotel. WHAT: An evening with Brigitte Martin WHEN: Monday 26 September at 7 pm WHERE: Carousel Theatre for Young People, 1411 Cartwright Street, Granville Island, Vancouver, BC Don’t forget to order your free tickets on Eventbrite in order to reserve a seat and sign up to the Facebook event, as there is limited capacity in the Theatre. Donations will be accepted at the door.
September Metals Mixer - Monday Sept. 26 Details: Join your fellow jewellers and metalsmiths for an evening of great conversation and social conviviality. All are welcome to attend, whether you make the earlier lecture or not. Come meet your fellow members. We will also be discussing our new studio builing, everyone interested in renting a bench or room should come hear all the details. WHEN: Monday, 26 September at 8:30 pm WHERE: Dockside Pub in the Granville Island Hotel, 1253 Johnston St, Vancouver, BC V6H 3R9
UNEXPECTED - VMAA Annual Exhibition - Nov 24th to Dec 8th Details: UNEXPECTED explores the strange and sometimes discordant elements that make the viewing, wearing, and making of Contemporary Jewellery an enjoyable endeavor. WHEN: Nov 24th to Dec 8th WHERE: Craft Council of BC Gallery, 1386 Cartwright Street, Granville Island, Vancouver, BC
VMAA Annual Ornament Exchange - December, date TBA Details: Make an ornament for trading and then enjoy some mulled wine and excellent conversation. There is no criteria, just bring an ornament you’ve made to trade and you’ll get to leave with one. Some will be elaborate and some quite simple. Wherever your inspiration takes you is great! WHEN: TBA WHERE: TBA
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U
nlike traditional jewelry, which is appreciated for
its use of precious metals and gems, contemporary studio jewelry is valued for its originality and conceptual content. Inexpensive materials such as plastic, ceramic or fabric are frequently preferred to precious materials for conceptual or expressive purposes. Following Nicolas Bourriaud’s concept of relational aesthetics, contemporary jewelers often focus as much on the social interactions provoked by the wearing of their work as they do on the work itself, an idea given form in Louise Perrone and Jan Smith’s exhibition Jewelry Dialogue: On and Off the Body. Both Perrone and Smith are experienced jewelers with numerous exhibitions to their credit. Both have pursued individual careers and established strong, individual approaches to their work. Perrone studied sculpture in Britain prior to immigrating to Canada, where she received a second undergraduate degree in jewelry and metals from the Alberta College of Art and Design. Her early work consisted of large, showy brooches and small sculptures in colourful anodized aluminum. Concerns about toxicity and the environment, however, encouraged a shift to working with recycled
Louise Perrone and Jan Smith: Jewelry Dialogue: On and Off the Body Review by Amy Gogarty | Images by Dana Reed This review originally appeared on craftcouncilbc.ca.
materials and textiles. Smith studied at Okanagan College and Emily Carr prior to pursing a BFA from NSCAD in Halifax. She brings strong skills in drawing and printmaking to her jewelry practice, focusing on enamel-on-copper, but she also incorporates other materials such as sterling silver, pearls, linen, paper and paint.
http://www.louiseperrone.com/ http://jansmith.ca/
Jewelry Dialogue: On and Off the Body 6
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events. The loose geometry playing out across the circles is anchored by oxidized silver tabs, which consolidate the badge components and provide an underlying repetitive rhythm. What is especially interesting about these small works is the way in which they invoke related craft processes—printmaking and embroidery—yet transform them into something uniquely metal. The reference to sister crafts also features in Perrone’s work. Seeking a way to work with textiles that would provide the structure and colour of her earlier aluminum works, Perrone turned to a form of patchwork quilting known as English paper piecing. In this technique, fabric With this exhibition, the two artists, who have been friends for years, set out to work collaboratively, exploring what they called a “conversation about making, wearing and displaying jewelry.” For many years, Smith has worked with the circle, a form imbued with symbolic attributes relating to life cycles, eternity and enclosure. Perrone elected to counter the circle with an X, or cross, associating it with marking and measuring, identity and authorship. In the exhibition, Smith’s off-white circular badges are interspersed with Perrone’s bright red square ones. Arranged across the white gallery walls, the badges appear to spell out coded messages relating to the body and social interaction.
swatches are adhered to paper patterns. The paper remains in place until after the pieces are assembled, allowing for precise patterns to be pieced using delicate fabrics. Perrone uses styrene rather than paper and leaves it in place, where it lends a stiffness and structure reminiscent of metal. Central to her interest is the use of discarded or recycled thrift store fabrics, which preserve some of their original meaning in the new piece. Her twenty badges, collectively named “Dialogue,” are constructed from bright red flag fabric, hand-sewn and embellished with tracks of tiny stitches that form crosses, squares and tartan checks. Each badge is as a tiny foursided pyramid, with different degrees of projection from the wall. All attach to the body by means of rare-earth
Smith’s circular badges are marked
magnets, which means they can be worn on virtually any
with raised lines that resemble stitches,
sort of fabric without causing damage.
which press through the thin skin of pale, vitreous enamel. Citing an interest in Indian textiles, notably Kantha embroidery, Smith arranges the stitch-like marks into series of related patterns: concentric rings, clusters of circles, crosses or individual lines. Groups of badges bear names relating to embroidery: Stitched Lines, French Knot, Crossed Stitch, echoing the artist’s interest in making and mending as metaphors for intimate life
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In order to manifest the dialogue more publicly and to
followed up by more opportunities for the public to engage
extend the discussion to both wearers and viewers of this
with contemporary craft.
work, the two artists staged a public event on Granville Island, inviting members of the public to try on the badges and to be photographed. The interaction allowed them to speak to people directly and to open a discussion about jewelry, its meanings and value in our lives. The interaction is documented by Polaroid photographs displayed on one gallery wall. In an age of endless selfies, one might be cynical about such photographs, but it is clear in looking at them that people of all ages and backgrounds took the opportunity to engage, and the event appears to have raised awareness of contemporary jewelry. As Smith points out, we rarely see jewelry on ourselves—we just notice the reaction in others seeing it on us. People were genuinely struck by their photographs and perhaps began to imagine how they might use jewelry to communicate private emotions and ideas as a form of public art. This part of the exhibition is especially successful, and one hopes it will be
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The exhibition also includes larger and more complex works previously completed by each artist. These works lend a context to the exhibition, and they extend our appreciation of the skills and range each artist brings to the dialogue, but they exist outside the dynamic conversation initiated by the badges. Possibly photographs of these works on viewers would have linked them more clearly to the badge installation. The heart of the exhibition lies in its clever use of series and repetition and its documented desire to connect with a wider world.
Opportunities & Calls for Entry The Richmond Art Gallery accepts submissions
Wearable Expressions 7th International Juried Exhibition
for displaying work at Richmond City Hall
$20,000 IN PRIZES: Fibre | Jewellery | Accessories
located at 6911 No. 3 Road. Submissions are accepted throughout the year. Find more information here: www.richmondartgallery.org/exhibitions/
EXHIBITION DATES: January 20 – April 16, 2017 ENTRY DEADLINE: OCTOBER 1, 2016 www.wearableexpressions.com/
submissions/ The GIA offers scholarships for its gemology, jewelry, and Materials: Hard + Soft International Contemporary Craft Competition and Exhibition Entry Deadline: September 30, 2016 http://dentonarts.com/materialshardandsoft
design programs, courses, and lab classes. Apply August 1 – September 30 for scholarships to be used the following calendar year. Apply February 1 – March 31 for scholarships to be used the second half of the current year. www.gia.edu/scholarships
2017 Saul Bell Design Award Now in its 17th year, the international competition encourages designers to push the limits of their skills and imaginations as they create original jewelry art. Entry Deadline: October 27, 2016 http://saulbellaward.com/
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Crafthaus Project Grant 2016 Every other year, crafthaus awards a micro grant to a craft artist regardless of their location, professional background, or chosen craft field. Application Deadline: September 30, 2016 https://is.gd/qhlXfz
Ring it On
28TH ANNUAL NICHE AWARDS COMPETITION
Sculpture • Fashion • Function: a showcase of
Celebrating excellence and innovation in American and
sculptural and/or functional finger adornments.
Canadian fine craft .
Entry Deadline: October 2, 2016
Application Deadline: October 1, 2016
http://lillstreet.com/call-for-entry
www.nicheawards.com/apply-now-for-2017/
VMAA News
Feature Member
Fia Cooper is a custom metalwork fabricator and jewelry artist living and working in Vancouver. She attended Kootenay School of the Arts in Nelson BC, majoring in metal and studying jewelry. Furthering her education she worked in the fields of bronze casting, blacksmithing, and custom fabrication. She approaches her work with curiosity and a playful regard for the patterns and geometries that surround and shape us. http://fiacooper.com/ home.html
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Fia Cooper My practice is one of constant exploration, which more often than not leads to impasses, frustration and mistakes, which in turn leads to more experimentation. Sometimes the past and present converge and an idea is fully realized, contained within it are all the attempts that made it possible.
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convinced by friends to head to New York, and her career took yet another turn as she found it necessary to support herself by making things for a living. From a start with hand printed t-shirts, Gyotaku (fish prints) and home décor items made with a friend to a line of Lucite and paper collage jewellery, Suzanne has long supported herself with the work of her hands. Her Lucite and paper jewellery had her ordering huge industrial size sheets of Lucite in the season’s colours, and rolls of beautiful gift paper. While things were going well selling at trade shows and craft fairs in Manhattan, her first wholesale order for an accessories chain out of Texas was a bit of a shock. “She said to me the first time, I’d like 36 pairs of these and 48 of these…Ack! My mouth fell open. She said to her sidekick buyer, Oh look, Suzanne is so freaked out, that’s so funny! I don’t think she’s ever had such a large order.”
”
During this time, the people who organized one of the craft fairs
Here on Granville Island in the
that they sold at had an indoor Christmas fair at a high school. It
summer, it’s amazing in terms
was here that Suzanne first saw artisan jewellery made from metal.
of the people from all over the world. In the public market, it’s really great when you meet
understand it
was attracted to it, the designs, everything that I saw. It’s not to my taste now, it was very conservative though not really commercial and not what I would end up doing but nevertheless, it attracted
people you can tell authentically like your work, appreciate it,
“I thought this was it, this is professional, this is the real thing. I
”
me.”
Suzanne Nairne has spent a long time in the jewellery field. Having been in the industry for 25 years, she makes her living as a self supporting artist creating clean, contemporary designs in silver, gold and resin. Born and raised in Vancouver, she’s lived and studied in places such as Mexico and New York, returning to live in Vancouver in the last decade. Her path to making a living as a jeweller has been rather indirect. Starting with a BA in French and an intention to work as an interpreter, she ended up getting involved in musical theater as a dancer during her third year in university. This led to an 11 year career in contemporary dance. During a 6 month stay in Mexico, she was
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Professional Profile
Suzanne Nairne a very good sense of design. That’s very good, go ahead, go ahead.’ She didn’t say anything about how hard it was going to be. Oh my god, it was unbelievable! One was a bracelet I still do some times for people, in the beginning I charged two hundred for it, now it’s closer to a thousand. I thought I’d done it, then she showed me how to polish. I learned everything along the way with these projects. It took me the better part of a week to polish that piece. It had to have the better part of a hundred solder joins on it.” In a break of luck, when Suzanne signed up for classes in
While her designs have evolved into a very classic but
goldsmithing at the Y on 52nd with The Crafts Students
contemporary feel, Suzanne’s clients have pretty much
League, she was offered a scholarship for free classes in
stayed the same. Younger people do like her work but she
exchange for watching the studio during bench time. From
finds the majority of her customers are older women, for
the first try at soldering, Suzanne was hooked. “She put all
a variety of reasons, not least having the funds and desire
the little paillons inside, showed us how to draw it out. It
for contemporary jewellery. With her work sold primarily
sounds so corny, I saw the circle it was like magic, it was
face to face in the market on Granville Island and at craft
just such a thrill. Like a halo around the moon, it was just
shows, she gets a very good read on what people like.
beautiful, the way it went. I got excited about that” The next three years would involve learning to make many very ambitious projects in the classes she took with Tomiko Kawata Ferguson. “We had to do a copper pin that wasn’t very interesting in design. I asked if I could do a pin of my own design and she said ‘Of course, of course’ I drew something out, in my style, it was very linear. I knew so little, I didn’t really know what I was getting into… way over my head, so many solder joins. I did that for all the projects I worked on with her. She said when I showed her my design, ‘That’s good, that’s very good. I don’t think I can teach design, you have
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“People really appreciate something different. Here on Granville Island in the summer, it’s amazing in terms of the people from all over the world. In the public market, it’s really great when you meet people you can tell authentically like your work, appreciate it, understand it. I think for the most part, Americans and Europeans are ahead of Canadians in appreciating and understanding comtemporary jewellery, not even just jewellery, contemporary original art work.” Originality is paramount for Suzanne, and she is definitely puzzled by the convergence of design that seems to happen more with social media. “I always swore I’d never follow the trends all the way, or be super commercial. I’ve seen so many copied images, icons, looks…. I absolutely abhor stuff like that.“ Social media though also has it’s looking forward even while she plans for an infrequent bit of time off. Since her work is primarily sold face to face, she always has to stay one step ahead. “The cynical side of it is if you really want to make money at it, you can cater to the market and scrape by. Charles Lewton Brain once said that’s all people that work in silver will ever do.” By working with gold as well as silver, having exquisite designs that are definitely a cut above the average and sheer hard work, Suzanne is making the best of a far from level playing field and making a life for herself as a jeweller on her own terms. http://suzannenairne.com/ good side. “There is so much now, online, I’m addicted to Instagram. If you look online you can find wonderful work too. I tend to look at things internationally, the Netherlands and Britain. The Goldsmith’s fair is on right now, Instagrams’s all about that. Amazing stuff.” As a professional artist, making a living is possible on your own, as Suzanne can attest to, but it’s not easy. With no partner supporting her, unlike so many who make a career in jewellery as well as the arts in general, she has to be focused, plan carefully and work smart. With the Circle Craft Christmas market coming up, and a new jury session for the public market in February, Suzanne is already
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For Love And Money Two things define the amateur:
(1)
But even the most talented
of caregivers, those people who professionally care for children. Caregivers are among the lowest paid professionals. A reason for the low pay is that it is believed that they should do their work because they love the people they care for, not for financial compensation. Doing the work for pay, it is argued, is crass.
Someone who is still developing
professional will likely not get paid
their skills; (2) Someone who does
much. Pressfield is clear: “The payoff
something for the love of it, without
of playing-the-game-for-money is
The lack of a payoff is a period of
pay.
not the money (which you may never
freedom, according to Austin Kleon,
see anyway).” “In the end, [the
the author of Steal Like an Artist.
professional] does it for love.”
Making no money is a time, before
But how is the professional different? The professional, in comparison to
Money would tarnish the work.
success, when you can really do what
the amateur, should be (1) someone
Elizabeth Gilbert, in her book Big
who has highly developed skills,
Magic, has a somewhat different
and (2) is paid for their work. Yet
take, but the same conclusion. She
in the creative arts, no matter how
discusses how she never gave up
Recent books, Gods and Kings about
developed your skills are, there is an
her full-time job until she reached
fashion and At the Chef’s Table about
expectation that pay may never come.
unimaginable success with her
culinary arts, argue that pressures
Like the amateur, the professional’s
creative work. She writes, “I have
to succeed financially squash the
work is done, not for pay, but out of
watched so many other people
creativity that was the initial love of
love.
murder their creativity by demanding
the art. As Bill Cunningham, the late
that their art pay the bills.”
street fashion photographer for The
In his book The War of Art, Steven Pressfield is critical of the amateur.
Gilbert similarly concludes, “Don’t
The professional, he says, truly
count on the payoff.” “When it’s for
commits full time to what they love
love, you will always do it anyhow.”
to do. In comparison, “the amateur does not love the game enough. If he did, he would not pursue it as a sideline, distinct from his ‘real’ vocation.” The amateur lets illness, criticism, fear, and their other vocations get in the way of their creativity. The professional doesn’t. They don’t just love to create; they love it enough to “play the game for money.”
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Unlike the amateur, a professional artist is expected to be skillful.
you want, pursue your ideas and visions. He urges artists to enjoy it.
New York Times, said, “Once people own you, they can tell you what to do. So don’t let ’em.” Does money tarnish the work or love in metal arts? Does it have to?
Nonetheless, like the amateur, the
Could money make the work that is
professional is expected to do their
loved more possible?
work with little or no pay. There are not too many other fields where this
Can a professional metal artist be
is the case.
fairly compensated for the work in
In my profession as a sociologist
love?
(in which I am fairly skilled, and fairly paid), I have done studies
which they are skilled and which they
Carrie Yodanis Amateur metal artist
Hammer, Cut, Stitch, Repeat
Hammer, Cut, Stitch, Repeat
- an
exploration of repetition to achieve pattern and form in fine craft. With an emphasis on wearable art, Hammer, Cut, Stitch, Repeat will bring together artists working in metal, paper, and textile. Individually, each artist’s practice has a focus on repeating one action over and over; something that would drive most people mad. For this group of artists, repetition becomes a vessel for creativity and it is within that place that they push themselves further to explore their craft. Hammer, Cut, Stitch, Repeat shows the work of Rachael Ashe, Nell Burns, Su Foster, Patsy Kolesar, and Simone Richmond. Currently at Circle Craft in the Net Loft on Granville Island. The show runs until October 11th, 2016.
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Knowing how to price your work has to be one of the toughest things for many jewellery and metal artists. There is a lot of information out there that is complicated, or conversely, really too simplistic to make good business sense.
The dark art of pricing
One of the things people either forget to take into account or grossly under pay themselves for, is their time. If you want to make a living from your work, you need to earn a good wage. That means you don’t work for free, you value your time and you ensure that time is fairly compensated. Your hourly wage should be set at a minimum rate that can But people won’t pay that much! How often have you heard
pay you enough to live on as a self employed artist and
that or worse yet, said it to yourself? We all probably have,
pay for things live a vacation, medical expenses etc. 25-50
when we first started out. Unfortunately, it’s rather a self
dollars an hour is a good start. Don’t forget taxes and all
defeating idea that keeps prices low and wages even lower.
your other expenses are going to come out of that so don’t
One of our jobs is to educate our customers on why fine craft costs what it does, why handmade work is not
fall in the trap of paying yourself far too little. Price your work based on your monetary needs
going to sell for the same as cheap machine made goods. Sometimes that means educating ourselves first. In
Math drive you nuts? An alternative method is to simply
business and how to price our work.
decide how much you need to live on, to cover your business expenses and make a profit in your business.
There is more than one way to set prices and here are
Maybe that’s $300 a day or $5000 a month. Break down
some examples. You need to find one that fits you and your
how many pieces you make into that time frame, taking
processes.
into account your materials costs and go from there.
Price your work based on expenses and labour
Keep in mind, the more perceived value a piece has, the
For each piece you need four things: materials cost, overhead (burn rate), labour and profit. Burn rate is a general calcuation where you add up all your ancillary costs for the year: rent, utilities, marketing, consumables, tools, basically, what you spend on your business. Then figure out how many hours you spend making jewellery in a year. Divide the total costs by hours and you’ll have an hourly burn rate. When you price out a piece, add up the
higher a price you can charge for it. How can you add perceived value? If you work in silver, add a little gold through Keumboo or a few gold granules. Add some semi-precious stones. Use unusual materials. Work larger, create art and one of a kind pieces. Charge far more than you are comfortable with and go for that higher price bracket. Give people a reason to value your work with just how unique it is.
materials cost, how long it took to make times the burn
And remember, if you can afford your work it’s probably
rate, plus that time times your hourly wage and then add
priced too low. We need to avoid the race to the bottom
in extra for profit. How much profit, that depends on what
for prices, so value your time and your work and your
you want to make and re-invest in the business.
customers will too.
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Member News
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CLASSIFIEDS
For Sale: Custom made, hand crafted, pine jewellery display case - $65.00
55cm x 51cm x 7.5cm
Glass for easy viewing. Case can be secured with a small padlock. Contact Julie: 604 786-0941 text or call
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September 2016
Vancouver Metal Arts Association
VMAA
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