Charlie,

Cool. I love this thread.

Much serious marketing behind that tongue-in-cheek.

Charlie you're sliding down the sluice of this addiction for more than money
and status. Keep sliding.

TomNie

"charlie b" wrote in message
...
Posted this to rec.woodworking and thought I'd posted it here
as well - but hadn't. It was prompted by articles etc., about
Studio Woodworkers - and marketing. Successful "artists"
make more than a""carfts persons". But if the "shop" becomes
a "studio" then you become a Studio Woodworker. If you want
to take it up a notch call yourself a Rotationist, or better yet,
a Rotationiste.

Been getting into turning. Just about any piece of wood that's at least
3/4 inches thick and at least 4 inches long is a candidate for turning
into something - literally. And while turning the third variation of
what started with a Turned Snot-tite

see alt.binaries.pictures.woodworking for photo or
http://home.comcast.net/~charliebcz/.../Turning4.html

I had a flash of insight into how to become a Studio Woodworker, more
specifically a Turnist, Furniturist and maybe a Boxist. Woodist is just
to vague.

First, you've got to come up with a "style" which is easily recognized.
It can either be easily copied (gets your style out there in the public
eye and makes your "original works" more valuable, or so complicated
that no one else can figure out how to do knock offs before you come up
with your next new style).

Second, you've got to work in "series" or "periods" or "phases", making
variations and variations of variations of a "concept" that fits into
your "style". A great story about the genesis of each "series" and a
unique story about each piece, along, perhaps, with your interpretation
of its meaning, is also a good idea. If you're going after The Art
World, skip your interpretation of a piece's meaning - art collectors
love to interpret things and share their insights with guests at
cocktail parties. If that's your market, better use obscure names for
each piece.

Third, you must come up with memorable names for each "piece" In a
series. The name should fit the story developed in The Second Insight.

Fourth, sign and date each piece, or at least initial it and date it.

Fifth, keep a written journal of your "work" - that will add to the
"provenance" and extracts can be included in the catalogue of each of
your shows.

Sixth, work in either rare, exotic woods OR really cheap/less expensive
very common woods - either end of the spectrum will work - if you get
out on the extremes.

Seventh, always give the dimensions of each piece in millimeters - it's
more continental and makes things seem bigger than they actually are.
That's if you're in the USA. If you're anywhere else, use inches.
Patrons love to do a little mental exercise between writing checks.

Eighth, change how you pronounce your first name - the one on your birth
certificate. It'll stick in peoples' minds better. Charles for example
becomes Chawls or Sharuls or Shawls.

Ninth, add some kind of accent mark to your last name to change the
emphasized syllable. Jones with a tilde over the "e" becomes jo-Nez. If
your last name is only one syllable, add a letter or two. Smith sounds
pretty common. But Smiythe on the other hand, or better yet Smipth (the
"p" Is silent, as in swimming, (sorry - lifeguard joke) will stick in
peoples heads. If all else fails, add an umlaut (sp?)

Tenth, use words that don't go together "my work is nano-monumental" or
"has a certain dynamic repose" or "is perfectly asymetirc" or "has a
static fluidity to it". (Worked for Lead Zepplin - but didn't work for
Iron Butterfly). If you can't come up with anything in english, throw in
some french. Avoid GERMAN - too guttural. If a word requires phlegm to
pronounce it correctly it's best to skip it- unless your market is in
Germany, Austria or Belgium. Also avoid Russian - finding fonts for
your 'exhibit" catalogue might be difficult.

Still working on Attire, Hair, Accessories and Studio Ambiance.

charlie b