Last week I had a really great time doing an Artist Talk webinar for Spoonflower about my process, my long friendship with Spoonflower, and about my art. There’s a link to the replay below. There were a collection of questions in the chat that we didn’t get to (and some on my social channels), so I thought it would be fun to write a follow up post and answer some of those.

Q: What type of scanner (and other tools) do you use?

Scanner: My scanner is super simple. It’s an all-in-one printer/scanner made by Brother and it’s probably 15 years old. You really don’t need a high tech or fancy scanner, you just need a few settings and clean glass. I very often create designs that are larger than I ultimately want the finished fabric scale to be because it’s hard to make tiny fine details in cut paper. So I most often scan things at 150 or 300 DPI knowing that I will be printing them at 150 DPI (Spoonflower’s resolution).

Sewing Machine: I do all of my sewing for everything: exhibition pieces, things for sale in my Etsy shop, samples. I have a Pfaff Expression 3.2 that is an awesome machine.

Software & Apps: I do most of my editing in Photoshop and Illustrator. Because I know them and they work for me and that’s the most important part. There’s no one right tool to make art. I teach using Pixlr, because it is a free app and that makes it the most accessible for my students. I don’t use tablets or Procreate because I just don’t like drawing/painting my designs. That’s just not the way that I work, so those are not the right tools.

Q: I think it’s so clever how you’ve designed into your Shop Header to “be sure to click NEW to see my latest designs.” A “steal-worthy” tip for sure!

You are right: it is a steal worthy tip and I know because I stole it! Credit for that idea goes to my friend Anda Corrie, who was the author of Spoonflower’s “Quick Sew Project” book. She shared it on her social media somewhere and I totally copied her.

Q: Do you teach on Skillshare too?

No I don’t, for a couple of reasons. I know Skillshare is super popular, but I don’t like their teaching format (which is only video like a TV show) and the way that teachers are compensated. I also don’t like the idea that my classes would be only accessible via a monthly membership fee paid to another company. I feel like it just makes them inaccessible for too many people.

I DO offer online classes that I host through Teachable! I am in the middle of moving classes over to Teachable from another platform, so it’s a little bit in transition right now but they should all be migrated in the next couple of weeks and I can start adding more.

Q: What recommendations do you offer for expanding your marketing reach beyond social media?

Don’t we all wish we had an answer to this question? I talked a little about this in my webinar, but get your work in places that people will see it. Make things you can exhibit, get it into shops on consignment or wholesale, wear it, use it, talk about it. If you don’t sew or make things, partner up with someone who does. See if you can come up with a partnership that is a win for both of you. Enter the Spoonflower weekly contest.

No one likes to be sold to. Think about all of the jokes about used car salesmen. So don’t focus on “selling” your work but on telling the stories. Talk about what you do and why. Share the inspiration for the design or the colors. People love to see behind-the-scenes and sneak peeks. I can spend half an afternoon watching “making of” videos from artists on Instagram but I can’t think the last time I clicked through to see someone’s post about a “new collection for sale”.

Q: I want to take a class from you, starting with the mosaic, to the finished fabric!

Noted! Mosaics are SLOW so I think it would make a really boring in-person class but I have thought about translating it into an online class so you can do some of the time consuming part offline. That mosaic toad design I showed you in the webinar probably took me 5-6 hours to create from start to finish. I have a design of mosaic waterlilies that I think took more than 40 hours.

Q: Is there a blog post on Spoonflower that explains how to do this? Is this possible still on Spoonflower, such a ‘placed’ print? [This refers to printing a design as a placed/engineered print for clothing rather than a repeating design.]

Not on Spoonflower’s blog, but there are several projects like this in the Spoonflower Handbook. In the simplest terms, the way to design like this is to not think about making a repeat but to think about designing a whole yard (or more) of fabric all at once. I do this alot. Instead of setting up a canvas that is 8 inches square or something like that, I set up a canvas that is 42×36 inches, or that will fill a whole yard of fabric. Then I design what I want that yard to look like. It’s not any harder than making a repeat (in fact I think it’s easier) but it’s just a different way of thinking about it. If you want to design to place something on a dress, for example, you have to do a little math to know what pieces you need to cut out (bodice, sleeves, skirt) and to design blocks that are the size you need to cut out those pieces.

Change is hard.

My very first project of 2022 wasn’t the thing I was planning on creating. In fact, it wasn’t even really making something new, but re-making something I didn’t want to redo.

At the end of 2021, Coursecraft, the platform I used to host my on-demand online classes decided to go out of business. They were a small company (which is part of why I loved them) but that means that I think they got a little burn out being constantly on the front lines of keeping everything up and running. I think many of us can relate to that. When they said that they were going to turn everything off in April, I spent a couple of days thinking.

• Did I want to go to the trouble of moving everything to a new platform?
• Are students going to be upset if I couldn’t automatically give them access to the new class?
• Would they even notice if the classes just disappeared?
• Were enough people registered for them that it made sense to continue? Would the additional time investment be worth it?
• Could I find a new platform that didn’t cost a lot more?

It was the kind of unforeseen event that forces you to take a look at things in many different ways.

I decided that those on-demand classes are something I love to teach. Even though I am not right there talking to students in real time, it’s still a great teaching experience. I know that the students have so many more options. You can do the whole thing at once or come back and work on it whenever you have 10 minutes free. You can jump back and refer to something that you don’t quite remember. I know there are classes I wish I could do that with. I took a book binding class last year and I am certain that I couldn’t make another one on my own at this point. I took good notes, but I have forgotten so much because everything was so new. But most importantly when I look back at the last couple of years, those online classes are a big gold star in the “positive things that happened” column. There sure is a whole lot of negative that happened, so it really is nice to have something to celebrate.

Ultimately, I decided to move everything to Teachable. It was super similar to what I had before and I like a lot of the features it has. On the other hand, some things aren’t as good and I’ll have to change how a couple of lessons work. It’s slow going. There’s no tool to help you migrate something like this. Just a lot of copy and paste and waiting for videos to re-upload. I’ve listened to music and a book on tape. One morning I played an online game of Settlers of Catan while I waited on video uploads. It’s been great thinking time. I thought about new classes to teach for this spring and what I’d like to add to my new school at Teachable.

I even made a deal with a friend of mine who is working on a similar project right now: something she wants to get done, but at the same time dreads doing it. We’ve been sending each other progress photos and grouchy observations when things aren’t quite going as smoothly as we had hoped. That was the best idea ever. It makes it not quite as hard when you have someone to complain about it to.

So things might look a little topsy-turvy on that classes page right now, but I think more good things are to come. And it’s nice to take a minute to re-evaluate and come up with the same conclusion that I did when I started. Classes are a great way to connect with my community or artists and makers and I hope this is the start of more new great things this year.

You might not know this about me, but I was a theater major for a few years in college. I was a huge highschool theater geek; the queen of the costume shop. I worked for five summers at a summer childrens’ theater and I fell in love with my husband in a truly ridiculous show where I played the Damsel in Distress and he played the giant sea monster that ate me. (It did have a happy ending.) That’s us in the photo above, right in the center.

I never wanted to be an actor; I was a designer. Sadly, I didn’t have the self-confidence I have now and when faced with the larger-than-life personalities in the department, I never found a place where I felt like I was contributing anything other than endlessly washing paintbrushes. So I drifted off and changed my major and found other creative channels.

But it was in my first class as a theater major that I met Stephen Sondheim. I don’t mean that literally of course, but the first thing we studied in “Theater Appreciation” was the musical Sweeney Todd and it was the first Sondheim musical I’d ever seen. I remember that we watched the “Great Performances” version and we had to split it up over about 3 classes to be able to see the whole thing. I sat with all of the freshman theater majors in a row in the front of the auditorium. It was a required class for theater majors and filled a humanities credit for a whole lot of other people, so we were surrounded by football players and business majors. Looking back, Sweeney seems like the strangest choice to introduce to Theater Appreciation, but I still remember it 30 years later.

I remember walking to dinner or somewhere after watching the first act of Sweeney and thinking seriously WTF. I had never seen theater like this. I am a HUGE musical theater fan. I have watched every big old Hollywood movie musical dozens of times. I think “My Fair Lady” was my first live show when I was 8 or 9 years old. I knew all the words to “Phantom of the Opera”, which all theater kids did in 1992, and the “Guys and Dolls” cast album was among the first half dozen cds I owned. I grew up in South Dakota, where touring companies don’t travel, so I didn’t see my first real Broadway show, “Thoroughly Modern Millie”, until I was an adult. This was not like those musicals.

If you don’t know the story, Sweeney Todd, in short, is a musical about a serial killer and Victorian era cannibalism. It’s creepy and full of dark humor and more than a little twisted.

So, walking back to my dorm room, I remember thinking “what is this demented thing they have us watching? This isn’t a normal musical.” and also “why haven’t I ever heard of this before?!”

It ends up that I love Sweeney Todd. I didn’t have a chance to see it live until a decade or so ago when a friend played the lead in a community theater production, but I’ve watched that same recorded version several more times and a concert version too. I’ve since discovered more Sondheim. My husband introduced me to “Into the Woods”, and I also watched the Great Performances version of that. I’ve never liked “West Side Story” although I’ve seen it a couple of times.

But my great Sondheim love is “Sunday in the Park with George”. A friend took me to see it a bunch of years ago and although I had heard of it, I really didn’t know much about it. It was breathtaking. I don’t think it’s too much of a spoiler to say that the musical centers around George Seurat and at one point in the production they make the painting “Sunday Afternoon on the Isle of La Grande Jatte” come to life in a way that’s purely magical. I don’t remember a lot about that production other than liking it. I do remember very vividly going on a trip to the Art Institute of Chicago a year or so later.

I didn’t know the painting was there and I came around a corner and literally took a step backwards. It took my breath away. I stood for minutes in front of it just mesmerized.

Years later, I was contacted by the gift shop manager from the Guthrie Theater here in Minneapolis. She and I had met at an art show that I did and she had a brainstorm. Could I design some fabrics inspired by the musical they were doing for the summer and then they could carry that work in the gift shop? I jumped at the chance! She says, “You might not have heard of this show. It’s a little weird. It’s called “Sunday in the Park with George”.

So, I spent a couple of months studying it. I listened to different cast albums and watched the movie versions. I studied the painting and George Seurat. I designed a whole collection of designs inspired by elements from the show and the painting and they are some of my favorite designs I have ever done. I listened and read the lyrics to every song, looking for phrases and words to bring in to my designs. I named one design “Rue de Magenta” because that was the Paris street where Seurat had his studio. I made the black dog from the painting into one of my black labs posing to be painted.

After I had made the collection, we went to see the Guthrie’s production of course. I had tears running down my face at the moment that the “painting” snaps into place. I was a total wreck in the absolute best way possible. It was amazing.

I won’t forget those two breathtaking moments with the painting and the show. I think it’s because Sondheim and I shared a moment and understood something together about art and artists and this amazing painting. What a gift. Stephen Sondheim passed away this week and I am sorry that I won’t get to share more new moments with his art.