making a mark

canteen vase

Today I sat in on a workshop given by Nancy Selvin at Heath Ceramics.
I've had the privilege on a number of occasions to hear Nancy speak...I think the first time was back in 1991 when I was an art student at the California College of Arts (and Crafts). But that was not the first time I had set my eyes on her work. No, it was a handful of years before, I think in 1987, when I took my first ceramics course I happened upon a postcard with an image of one of her pieces. It had her trademark delicate markings, loose but with intent. It was obvious to me even then, when I was a complete novice, that this was a person who had a mastery of a medium I did not know much about. I was impressed and inspired by what I saw. I wanted to make work like that. It was a remote dream, it seemed impossible to me, especially when I was churning out heavy bottomed, gloppy glazed ash trays from my pottery class.

Early this morning as I drove towards Sausalito across the Golden Gate Bridge, with its familiar cloak of fog wrapped around its towers, , I began to think about my own journey as a ceramist. It hit me what a great influence Nancy has been on me. I never had thought about it in concrete terms like that before. I also realized just how far I had come in my own journey as a ceramic artist. From that very first class i took, fantasizing that maybe, just maybe, someday I would make beautiful work like Nancy. Well not like Nancy, like my own but you know what I mean. I realized that I now give workshops like Nancy at wonderful places like Heath. And then with a little more thought it occurred to me... I have done it! Of course I still have long way to go, and so much to learn, we are really never there, but I have found my own place with this crazy medium.
Best of all I am still in love with it.

During the class I decided to tell Nancy the influence she has had on me and to thank her for her dedication to what she does. Seeing women like her, committed to doing what they love and doing it well is really the best kind of example anyone can give.

Nancy asked us to introduce ourselves at the beginning of the class.
You know the usual, your name and what you do.
When it was my turn I said;
Hi, my name is Diana Fayt and I am a full time Ceramic Artist.


Thank you Nancy!

in the news & other adventures

My new Zsuzsi vase (named after my mom) with flowers from my garden

It has been a week and half since I last posted. Some of the time I spent relaxing and the rest of it working and doing my best to catch up on stuff. One of which was answering questions from the lovely Stephanie Levy for her new Friday series feature on her blog, A Studio With A View. I am honored to be the second Artist featured in this fabulous new series which looks like it's going to be a hit.
You can see it here.

Thank you Stephanie!

Also if you aren't already familiar with Stephanie's fabulous illustration and collage work you should check it out. It's fantastic.

Canteen Vase in Australian Home Beautiful
June 2008

Plus this week store owner Olivier Dupon of Lola et Moi in Sydney, Australia who carries my work so kindly sent me an image of this lovely feature with one of my canteen vases from current issue of Australian Home Beautiful magazine.

Thank you Olivier.

Wilfredo has many talents, one of which is riding atop my cart.
He makes unloading hundreds of pounds of clay much more fun.

And last but defiantly not least, one of the many things I did this past week, was take care of my favorite dog, Wilfredo. He comes to stay with me whenever his famous mom has to leave town. He is the cutest, most loving, sweet, funny and just downright adorable creature. Everyone who meets Wilfredo instantly falls in love with him. And he is most definitely a babe magnet...I get lots of attention from the boys when I am out with him plus we have all sorts of fun adventures when he comes to stay with me. Wilfredo also writes letters and sends photos to his mom while she is away (it makes her feel better about missing her boy). For some fun weekend reading you can see them here.


See you all next week with some new announcements.

Sunny Weekend Wishes to You All.

a fond farewell

The west coast pottery gals, as Whitney likes to calls us, the Pottery Posse, had a farewell dinner for our friend and fellow potter Christa Assad.

me (left) and whitney (right) enjoying dinner

Our gatherings are always fun and we all have a chance to catch up with one another. There is always plenty of wine to drink along with a homemade meal by whomever is hosting the party, this time by the ever beautiful and talented Sara Paloma.

Sara lit just about every candle in her Ikea tea lite bag though most spectacular was Sara's Disco Ball, it sparkled and gleamed and cast spots of light all over her beautiful home making it seem like we were having dinner in the stars! (see my last post for a picture of the Disco Ball)

We bounced Sara's beautiful daughter on our knees and talked about all things pottery and as usual, boys. It never changes does it!?

Rae bouncing Sara's beautiful babe

talking shop left to right; Sara, Whitney, Rae & Christa

Christa is off to the Kansas City Art Institute to teach ceramics to some very lucky people. Christa is an amazing potter and well on her way to the Pottery Hall of Fame.

We are all so very happy for Christa but also sad as it is never easy to lose one of the Posse. Best of luck Christa, knock 'em dead! We sure will miss you! sniff, sniff.

how much

As promised, I am back to talk about pricing. I have thought about it over the past couple of weeks (and taken copious notes on the subject). I realized that this is an enormous topic, one that should not be summed up on one person’s blog post. With that said I’ll get down to business. Oh and one more thing. I am only stating my views on the topic of pricing. These are some of the rules of thumb that I have learned from others along the way and through my own experience. I salute and honor all creativity however one expresses it and feel it all has value. How much is it worth monetarily in the that big world out there… Well lets try and figure that out together.

My first bit of advice is to find your category. By this I mean, are you a career Artist, will you be making work for the rest of your life? Are you a Fine Artist/Craftsperson? Are you “crafty” meaning you love to make crafts in your spare time, you are not making this your life’s work, but you would like to sell what you make. These are important things to figure out. When pricing (and placing) work these things do matter. For instance, I do believe a person who is dedicated to lifelong career of being an Artist, who consistently and systematically works to build a career, has a regular studio practice and has ongoing shows does articulate a level of commitment that imbues value to their work differently than say those of the weekend crafter. It is only one factor though. We can factor in education as well, though the jury is out (my own personal jury) on this as I do whole heartedly embrace the Outsider Artists of the world and don’t believe it is entirely necessary for all people to jump through the flaming hoops of the Artistic academia, to prove that they are “real” Artists. Though education can’t be overlooked (it does show commitment). Those of us who have passed through those hoops and felt the flames of heat on our backs, can’t deny it’s influence on our development as Artists and take that aspect of our commitment seriously. In some circles your work won't be considered if you do not have the academic degrees to back it up. Next, how long have you been making your work? Are you just starting out? Have you been at it for two, ten, fifteen…twenty years? How long have you been showing and selling your work? Have you been published? Once you have figured this out then that will help you place yourself in your category.

Second, figure out your costs. This is the nitty gritty. Expenses, I mean all expenses, materials, time, rent, photography, travel and everything that goes into making your work. Once you figure out the costs figure out how much time it takes you to make your work. It may vary from piece to piece but get a general idea of the time you spend making your work. Then give yourself an hourly wage for that time. Now this is a tricky one. This might be heavily influenced by where you live and cost of living in your area. I, for example, live in a very expensive place, which translates to a higher hourly wage for cost of living. Do the math figure out (as close as possible) the costs to make a piece.

Third, do some research. Find out what others are charging for an item comparable to yours and by made by people in your category. Look in stores and galleries, take a look at what is being sold online. Take note of the pricing. This can get confusing too, but I do believe if you have figured out your category, taken into consideration where you are at in your career, know your costs for producing the work and how things are priced out there in the world you will get a clearer idea for pricing your own work. Also take into consideration that you might be selling the work at wholesale prices, which constitutes fifty to sixty percent of the retail selling price.

With that said, there are a lot of mixed messages out there. It used to be (as I like to say in the olden’ days, which really was not so long ago…ten, fifteen years ago) that the boundaries of Artist and the value of work were much more clearly delineated. The Internet and things like Etsy are quickly blurring those boundaries. Suddenly everyone who has ever done anything creative is an Artist. Well yes and no. Just because I make a spreadsheet on my computer and do an analysis of my production costs, does that make me a financial guru? No, it means I did it because I can (and I have a computer program to help) but not because I am an expert in the field. There is a distinct difference.

Okay, now that we have category, costs, done our research on what the going rate is for something of equal value, figure out a fair price that will pay you for your time and cover your costs. I would also like to emphasize that it is very important to give yourself room to grow with your prices. Don’t price yourself too high at first. If you are just starting out it is acceptable that your work be slightly lower than that of the going rate. If you find after doing your cost analysis that it is not possible for you to recoup your expenses as well as pay yourself then maybe consider not making that work to sell. Sometimes we love exquisite materials, which in turn give us exquisite prices or the amount of labor it takes to execute the piece makes it impossible for us to sell the work for what it is worth. If that is so then I would consider making this type of work for special occasions such as a show or a special order from someone who understands the value and is willing to pay for the added cost.

People will (and should) look at your history as an Artist. Emerging Artists are not expected and should not have the same prices as mid career or mature Artists. You think my prices are high, take a look at Ruth Duckworth, she asks $1200 one of her cups and so she should, her work is phenomenal and she has the resume to back it. I have a long way to go before I can ask for prices like that. I have to earn it, prove my commitment and most of all, make good work. However it is never in your best interest to lower your prices after you’ve put your work out there. It devalues your work. Also, don’t under price yourself. By doing so you not only do a disservice to yourself but to other Artists in your category as well. Once you put your work out there with a price tag on it, you become part of a greater community and it is very, VERY, important to value yourself, your work and in doing so you uphold the same ideal for your peers. I feel very strongly about Artists getting paid for their time. Too often it is assumed that we do what we do because it is “fun” and in turn is translated, as “you should do it for free.” We all know the truth, so many of you have written to me with your truth and the reality of that truth is that until we take ourselves seriously no one else will.

Get to work friends!

summer fun

Hello friends! First off thank you all for all the thoughtful responses to my last post! Though I thought that it might be taboo to talk about money turns out is was not...It seems as if the topic cracked open whole can of worms for a lot of people. It is so very important for all Artists to take themselves and their work seriously. We, after all lay the ground work, for one another. I feel that I set a precedent not only for myself but for those who fallow along side of me and in my footsteps. Charging what we are worth and knowing how to price our work accordingly is tricky...but doable. All the response to the subject got me thinking about pricing and how one might go about it. I realized that though I get a reaction from the public because of my prices (this will never go away and I am very used to it) I am comfortable with where I stand and feel my prices are very fair. Throughout the years I have applied some rules of thumb to pricing my work. I think it might be helpful to some of you out there if I share some of my thoughts about how I go about doing this. I have to think about it a little more before I go into it any further so check back with me, it will be sooner than later I promise. (yikes, did I just make a promise on my blog!?)

I also wanted to let you know that I will be teaching a workshop in July ( It was originally set for May 26th but was changed because of the Memorial Day holiday). It is at the fabulous Heath Ceramics Factory in Sausalito, California. It was a blast last time I taught it and I am so looking forward to teaching it again. I hope to see some of you there!

money talk

It makes me uncomfortable to talk about money. Especially when it comes to my own work. I guess on some level I feel I shouldn't have to explain myself or that it is unsavory for an Artist to talk about it. Perhaps it is but I feel it is important to offer some explanation of why things are priced the way that they are. If I don't talk about it then how will anyone know?

I know that people often suffer "sticker shock" when they see the prices on my work. I have been selling my work professionally for thirteen years now so I have a pretty good idea of what people expect to pay when they see an object that is made from clay. Especially if it is in the shape of a bowl, vase or plate. Even I do it. I have that preconceived notion in my head too, equating function with frugality. So when someone writes to me and asks "I would like to buy your large bowl, how much is it?" and I tell them $320. Often times I get no response in return which I interpret as "it is so expensive... How can she charge so much for just a...bowl?!" I have read it on blogs too, I love her work but it is too expensive for my budget. I understand that it is shocking and this does not upset me, $320 for anything requires some thinking about before splashing out.

What goes into the making of those ceramic bowls, vases and plates is a lot more work than usually meets the eye. Anyone who has taken just one pottery course usually gains an immediate appreciation for the labor that goes into making ceramics. I often hear things like..."I took a pottery class intending to make all of my Christmas presents and all I ended up with is an ashtray...and I don't even smoke!" Any object successfully made out of clay is highly deceiving. That is the beauty of the medium. It gives off the air of simplicity, ease, some say a calmness but in truth the mastery of making things from clay that look that way require an immense amount of skill. People who work with clay do it because they love it and also because there is a bit of the masochist in them. When people say to me you must be so happy to "play with clay" I want to well ... scream. I rarely "play with clay" and really it is not respectful to the craft. In fact I heard Oprah say it the other day (did I just admit that I watch Oprah!?) while she was doing a spot on Jonathan Adler. He just smiled and was gracious but I wondered if that statement made his blood boil just a little. Anyone who is serious about the medium knows that there is nothing playful about it at all. The outcome may look playful in some cases but what goes into making it is a whole lot of work. Plain and simple...work!


When it takes me hours to make, paint, etch and glaze just one piece and then throw it into a kiln, not just once but twice and it may or may not turn out that is what goes into the cost. Also consider the cost for studio space, equipment, materials, education on top of the hours spent making the work. Honestly I don't think any ceramic artist/potter ever charges enough when you compare the hours they put into making their work to lets say a lawyer or a computer programmer. Those are professional realms where people rarely question their hourly wage. (we don't like how much they charge, but never the less we accept it). Even though those services provide as much function in our lives as the bowl we eat our cereal out of every day.

pottery paradise

spring studios at the sugar mill in Bequia

Earlier this week I journeyed out to an area on the island called Spring to visit the Spring Studios Pottery. Spring is a bucolic wonder... Swaying palm tree groves speckled with grazing cattle and a backdrop of sparkling turquoise ocean waters. The road that leads there is lined with bushes of jasmine, oleander, trumpet vines, flowering frangipane, breadfruit and mango trees. Humming birds and bright yellow banana twits zoom about to a background concert of bahhhing from the infamous Bequian sheep (that look like goats) that I affectionately refer to as sheep-goats . Getting there is dreamy, even in the heat of the day.





















I love to visit potteries whenever I travel. To me potteries are like churches...most places have one and well, in a way, clay is my religion so i feel very comforted and at home in them. Spring Studios are about as idyllic as they come. The pottery itself is in an old sugar mill that has been transformed into small individual working studios.Walk inside of what looks like a roofless stone ruin and you find small spaces where potters, painters and artists work.
Each studio, some larger than others, has its own unique feeling. Some are lined with large leafed plants, some more spare, enclosed by walls of large stones and all of them are open partially to the sky.

large pot on the wheel

The pottery attracts artists from all over the world. A french potter was working there earlier this year as well as Maria from England who is one of the resident potters currently working at the studio.

Maria throwing pots at Spring Studio

There is a large room with a gas kiln, a room where the clay mixing and recycling take place.

Lorencia (left) from Bequia showing off some of her creations as they are loaded onto the stacked kiln shelves.

Kerry (right) from St. Vincent was very proud of his work having just recycled all those bags of clay he is looking at.

...and a shop where the Artists can sell their finished wares.

Just to make you drool even more there is even a little pool in courtyard of the building. It really doesn't get any better than that...unless taking off to the beach (a five minute walk) and cooling off in the warm waters of the Caribbean ocean is your preference, which is exactly what I did.

I'll be back soon with more island tales and sneak peaks at some more local talent.

Now off I go for a sail.

hangin' in there

I have to admit I have become totally attached to having computer and being without one is really cramping my style. Today the stress of being an independent artist really broadsided me. I packed up all the work for the Xen Gallery show and shipped it off and I made the deadline for the calender to be finished. It is relieving but working for the future does not always bring money in today. It is sometimes gets very tight financially and the loss of my computer has just exacerbated my feelings of struggle.

I am doing my best not to feel sorry for myself...and I am constantly reminded of the good fortune in my life but I gotta say being an Artist does not make one financially secure. Sometimes it gets really,really scary. These are the times when I think to myself I am going to go to work for a big company designing nic nacs and get a regular paycheck with benefits.

I know it will all work out. It always does and now that I don't have my computer to distract me maybe I will finish that book that I have been trying to read for the past three months.