Its great to have friends who know a thing or two and are willing to share. Carla Lejade is a retired Marketing expert and a dear friend. Here is what she had to say in an interview about branding.
Brand (verb) – To mark indelibly.
“A brand is a name, term, design, symbol, or any other feature that identifies one seller’s good or service as distinct from those of other sellers” (American Marketing Association).
Barbara: Why is it important to do branding?
Carla: Because the most important thing in selling something is getting repeat business, branding facilitates that. If you create a pair of socks, and people buy them, you want them to like what they bought so much that they come back and buy more. Your branding will begin to sell your product for you so you can spend more time in “creative mode” than “selling mode”. So, that’s why it is important.
Barbara: How do you brand yourself?
Carla: You have to decide what you want to communicate, what you’re selling and who you are. You need to be able to communicate this in one or two words. If you were in an elevator for example, and someone said: “Barbara what do you do?” you have to be able to answer in two or three words, exactly what you do. Maybe it’s “Portrait Weaving”, maybe it’s something much bigger than that.This is the hardest part of branding: to come up with what your mission is, what you are trying to do and communicate. This is critical.
Once you’ve decided what you’re trying to communicate, you have to use it repeatedly on everything that you create. Use this on all your communications and in your signature on your business cards, on your mailings and web presence…. Also, with everybody you talk to. This is who you are.
When you’re an artist it makes sense to use your name because being an artist is having your name identification. Take Picasso for instance, there was a certain way he wrote his name that everyone became familiar with. He had a very unusual, cool name that people remembered.
There are other artists that have done a really good job of branding themselves. Peter Max is a good example of a brand that uses his name with a very cool and memorable logo. It was also consistent with his art and it became synonymous with that colorful playful Australian.
Barbara: Does branding art differ from other sorts of branding?
Carla: I don’t think it really does differ from other sorts of branding because it’s the same concept: becoming known for something, or delivery of some service or product that is pleasing to people, so that they want to buy it continuously, or tell their friends about it. It’s the same thing: trying to get people to recognize your brand so that they will buy again. Brand recognition and awareness of your product leads to sales. The ultimate goal in branding is to get sales.
What I see quite often with artists is that they get caught up in the creative process, working in a vacuum. You’re never going to sell anything unless you establish awareness of your product and develop a demand for what you’re creating.
Barbara: What can I do as an artist to create awareness of my brand?
Carla: You could have a laundry list of things you should do. First you need to have a website. You can make one yourself or have one made very inexpensively and put up your art. I’m not suggesting its necessary that you sell your art on the website, it’s just a way of having your own gallery. You also need a business card with your brand, your name and your website. Everybody you meet and interact with should get this card. Suggest they look at your art on the website. This gives you a way of showing what you do without the necessity of being in a professional art gallery.
Create a letterhead and a logo: your envelopes, everything you douses the same logo. A logo can incorporate your name in a stand-out font. Use it as a master brand above your name to identify your brand.
Be consistent and use it over a long period of time. You don’t change your brand every year. You stick with it because that’s what you’re building on, it’s the foundation.
Live your brand to the best of your ability, but be true to yourself. I have a house called Casa Zappato which is tied to Red Shoe Living. Everything is about Red Shoe Living for me. You have to decide what the big thing for you is.
Some interesting sites about branding:
Keeping up with what’s happening in the art world is useful, especially if you want to sell your work. Do you read relevant periodicals? I regularly read American Craft, Fiber Art Now, Sculpture Magazine (because my husband gets it), Shuttle, Spindle & Dyepot, Surface Design, Northern Journeys, a local art periodical and occasionally the New York Times art section. In a past issue of American Craft I read an article about collecting and collectors. That led me to thinking about how to develop collectors so I did an online search.
Here’s what I learned:
The new crop of collectors are not collecting in the same manner as we, or our parents and grandparents collected. They generally don’t focus on one or two items, They’re eclectic in their tastes. They are also put off by galleries where you have to ring a bell and be buzzed in. They like to see work in context, as in a grouping one might have in their home. Also, there is an up and coming movement for small, I mean tiny, homes where there isn’t much room for collecting.
So what does that mean to us as a contemporary tapestry artists? On my website, I plan to have in situ shots of my work. I’m considering taking some of my tapestries to friends homes and photographing my work in different decorating styles: contemporary, urban, traditional you get the idea.
What else? Maybe you want to work small, even in miniature and appeal to the tiny homes or to people who don’t have deep pockets. That’s another way to develop collectors. Start them on small less expensive works. With luck and some marketing they’ll come back for more and maybe larger work in the future. Personally, I prefer working large so this would be a stretch for me.
There is a movement called Art Cards and Originals (ACEOs). This is a group of artists who realized there is a market for miniature art works on paper. Cards are sold either as originals or editions. If it’s a print it should say so, and it should be numbered and signed—usually on the back. There are simple guidelines for ACEOs. The largest venue for buying and selling ACEOs, by the way, is eBay. This seems to be specific to painting and drawing but why can’t tapestry be included? I have had cards made of a few of my tapestries and they sell.
I use a company called Overnight Prints. I ordered 500 cards for $363. That comes to 72 cents US each plus a fraction of a cent for cellophane sleeves and I sell them for $4 each. Not a bad mark up. I also give them away.
Use postcards to promote your work. I once received a commission to weave someone’s granddaughter because I had my postcard and on a table in front of me in a class I took on marketing. Sometimes I give them out instead of my business card. If the person likes the image the card will stay on their refrigerator or bulletin board a lot longer than a business card. I have several different images and give the one I think the person will resonate with most. On the front I have the image. On the back, I include information about the image, and my contact information. I also can put a label on the back with information about a show or teaching. A nice touch is to give some to the person who buys the artwork on the card. Can you see them giving out postcards with your artwork on them. Happy clients are the best advertising you have, bar none. So why not provide them with something that they’ll be happy to share with others?
A website gives you visibility 24/7. Having a place where people can give you their email on your page gives you a list of people who want to hear from you. These people are ten times more likely to buy your artwork than those who follow you on Facebook, Twitter, Pinterest or LinkedIn. These are possible collectors. Use your email list to send out a newsletter letting people know where your work can be seen, awards you receive, talks you are giving, teaching gigs and open studio time. You can also use it to keep people updated on your work in progress. Don’t abuse it, but use it well.
If you use an email provider like MailChimp you can have up to 2,000 subscribers before you have to pay MailChimp a dime. (More reasons why artists should use MailChimp here.) You don’t want to use your personal email to send out manual newsletters.
There are lots of articles online about winning over collectors. Here are a few to check out:
That’s all for now,
This is a wonderful interview with Ulrika Leander. Ulrika talks about how she has been marketing and promoting her work including several useful ideas we can all try.
How long have you been weaving?
For over 50 years.
When and how did you begin to sell your work?
When I was in my early twenties. I had my first sale from an art exhibit in Sweden.
You have done many commissions, both liturgical and corporate. How has this work come to you?
For many years I advertised in the Guild books and that was worth every penny.
What is a guild book?
Years back a woman named Toni Sikes sold pages in a hard cover book to artists that were interested in getting commissions. The Guild books went out to art consultants, interior designers, collectors and architects around the country. Today the company is called CODAWORX and is a very professional website that connects artists with people that are looking for established artists.
I had many sales/commissions from that. The last 18 years I have been very fortunate to live in an area with lots of tourists and also wealthy people in second homes (The Eastern Shore of Maryland). Three days a week during the summer season I have kept the doors open for walk-ins and that has resulted in great sales/commissions.
Have you changed your marketing strategy since you began weaving? How has the internet changed how you market your work?
Yes, a few times and of course when Internet came into the picture it was an amazing change that opened so many new possibilities.
You have a blog, a website, an Etsy page and a Facebook page. How do you use each of them?
Blog: I write when I have something interesting to say. Lately I haven’t written anything and I should.
Website: I often refer people that are interested in my work to take a look at the website and especially the slideshow that explains the weaving process. Etsy page: worthless.
Would you please elaborate? Why is the Etsy page worthless?
I should have said for my work. I have shopped a lot of great stuff on Etsy. It’s probably because my tapestries are very large scale and quite expensive so people feel, like I would, that buying very expensive art from a website is too risky.
Facebook page: really a great way of keeping the visitors updated on my work. I have a group of people that follow me. It’s quick and easy to post and I think that the Facebook page probably is more effective than the website.
Effective in what way?
Well, because I constantly post updates on my ongoing tapestries and it has excited some, and made them interested in a particular piece. Showing the ongoing work gives the visitor a much greater appreciation of what goes into weaving a tapestry and I would say that helps them understand why a tapestry costs a lot of money.
Has the internet added to your sales? Do you use it for sales?
Yes, it certainly has added to my sales. More people stumble upon my work, people who didn’t know I was here.
Do you market your work in any other arenas?
Art competitions and exhibitions.
What have you tried that didn’t work?
Mailing out fancy cards and target e-mails.
Have you ever had your work in a gallery? If so, tell us about that experience.
I have had my work in many galleries. It’s a great way to showcase my work but it seldom leads to any sales.
That’s a surprise, do you have any thoughts on why that is?
People need time to think about if they really want to invest in an expensive piece of art. An art exhibition normally runs from one month up to two and it might not be enough time to decide if you love the piece enough and if you are ready to invest all that money. It’s not uncommon that people, weeks or even months after the exhibit has closed, contact the artist by themselves. Not fair to the gallery, but such is life.
Do you design your work with selling in mind or do you design what you want to weave and hope that it will sell?
I only design what I want to weave unless it’s a commission and that’s of course a different ballgame.
How do you advertise to get people into your studio?
I have a big road sign showing the inside of the studio and some of my tapestries plus a brochure box with information.
Is there a size or price range you find sells best for you?
It depends on the architectural environment.
You don’t put prices on your website. Why is that?
Because it might scare potential buyers away. I do e-mail my price list upon request. If you have a chance to talk to them and explain what is in involved in creating a tapestry the chances are much greater that the person will go ahead with the purchases.
What do you think of putting this explanation on your website? Why would you not do this?
No, no I could not put that on my web site because that comes from my gut feeling and it wouldn’t sound good. If people really are interested and want that information, I know they will e-mail me or pick up the phone.
How do you price your work?
It’s priced depending on the complexity of the design and the size of the tapestry.
Can you be more specific?
Working my whole life with designing and weaving tapestries, commissions or spec tapestries, I have found that having a set price is absolutely necessary. If a potential buyer comes to visit your studio with the intention to buy or commission a tapestry and you don’t have a set price you are fumbling in the dark and it’s very easy that you will get manipulated (the potential buyer wants to get a bargain) and you could end up with an agreed upon price that is not worth your time. I never, never negotiate my prices because over the many years in this business I have learned how much time it takes to design a tapestry, ho much time it takes to prepare the looms, the cost of the materials and most importantly, the many months of weaving the tapestry.
This might help you in understanding my pricing.
CONTEMPORARY TAPESTRY WEAVING
STUDIO PRICE LIST
TITLE SIZE PRICE
SOUL MATES 103” X 84” $9,000.00
LISTEN TO THE TREE 124” X 44” $18,200.00
A NEW DAY 68” X 84” $16,500.00
SNOW FALLING ON GEESE 71” X 47” $8,100.00
SWIFT SILVERTAILS PASSING 54” X 116” $18,300.00
BEFORE TIME 80” X 149” $18,000.00
MIDSUMMER 83” X 51” $10,000.00
OVER DANCING WATER 112” X 98” $32,300.00
BRIEF MOMENT 49” X 68” $18,500.00
SOLITUDE 31” X 86” $17,760.00
APPROXIMATE WEAVING TIME FOR A 4FT. X 8FT. TAPESTRY
COMPLEXITY WEAVING TIME
|COMPLEX SUPERIOR||14 MONTHS|
|THIS TABLE SHOWS THE LOCATION ON MY WEB SITE OF EXAMPLES OF EACH LEVEL OF DESIGN COMPLEXITY. THE NUMBERS REFER TO IMAGES IN EACH SECTION.|
COMPLEXITY SECTION NO. AND TITLE
|SIMPLE||GALLERY OF INSTALLED TAPESTRIES||11. OUR DUTY – OUR BOUNTY|
GALLERY OF LITURGICAL TAPESTRIES
GALLERY OF INSTALLED TAPESTRIES
GALLERY OF LITURGICAL TAPESTRIES
06. HEALING FLIGHT
10. MARY’S GIFT
GALLERY OF INSTALLED TAPESTRIES
GALLERY OF LITURGICAL TAPESTRIES
04. SEVEN FIFTEEN
10. FRAMES OF REFERENCE
19. INGRID AND GEY
09. LEAVING THE ARK
GALLERY LITURGICAL TAPESTRIES
GALLERY OF INSTALLED TAPESTRIES
|COMPLEX SUPERIOR||GALLERY OF INSTALLED TAPESTRIES||
14. IMAGE OF A GROWING SPRING
20. HIGH MEADOW
Ulrika Leander grew up in Sweden where to this day textile art is one of the most frequent forms of artistic expression found in public buildings, corporate offices, churches, health care facilities and in private homes.
The rich history and tradition of textile art and design became part of her consciousness at a very early age and the Scandinavian design aesthetic is a strong influence to this day.
Pamela Palma and I had a great conversation about her work and how she has handled promotion and marketing. You can listen to the conversation here.
I asked Marilyn Rea-Menzies to write about her experience with marketing and promoting her tapestries. I think you will find her story a worthwhile read. Barbara Burns
In early 1991 I took a trip from Picton, New Zealand, where I was living at the time, to Christchurch, NZ. I sat outside the Arts Centre of Christchurch with a student of mine and said to her that one day I would have a studio here. It took about seven years for that dream to come to fruition, and in mid 1998 I shifted my looms into a brand new studio in the Artist Quarter of the Arts Centre. The Arts Centre of Christchurch is situated in beautiful Neo-Gothic Buildings which had once housed the University of Canterbury. When the university relocated out into the suburbs in the late 1970’s/80’s a group of interested people canvased the City Council to turn the buildings into an Arts Centre. This was done and from that time on it became a great tourist destination integral to the heart of the city. The Artist’s Quarter consisted of a group of studios for Craft/Artists and featured weavers, quilters, woodworkers and potters, bookmakers and the occasional painter. It became very popular with visitors and I worked in my studio there until the earthquake of February 2011 damaged the buildings so badly that the Arts Centre was closed. It is only just now, in 2018, starting to open once again.
I really enjoyed working in the Arts Centre in my public studio. I worked pretty much every day, though did take some time out now and again. The Arts Centre was open seven days a week and we were expected to keep our studios open for all of that time. That didn’t bother me too much as I am never happier than when I am working in my studio. Tourists and other visitors to Christchurch could come into the studio and see the work, see the processes in action and just chat, maybe buy some art work or commission something for their homes. It was through having a public studio that I was able to attract tapestry commissions, which kept me busy. I earned most of my income throughout those years. I am very much a people person so I did enjoy the contact with people and never minded them watching me work. There were some funny times though, such as the day a woman poked her face through the door, took one look and sniffed “Tedious!!!!!” then disappeared very quickly.
Working in a public studio also gave me opportunities to meet people I would never have met otherwise. I had Chelsea Clinton and her grandmother in my studio one day when her father was visiting Christchurch on a public visit as President of the United States. Chelsea sat at my loom and did a little bit of weaving on the Millennium Tapestry which was being woven at that time. It was a big thrill and I promised her I would never use her photograph for publicity purposes and of course, I never did. Helen Clark the Prime Minister of New Zealand was in my studio twice over that period, once to cut the Millennium Tapestry from the loom and celebrate that event.
When a visitor to my studio expressed interest in commissioning a tapestry, I would spend time with them, explaining the process and techniques of tapestry weaving. I would show them photographs of my past work and what others had commissioned, talk to them about what they liked, what sort of subject matter they would be interested in and ask them to send me photographs that I could work from. I would often request a photograph of the space where they would potentially hang the work and ask also what size they would expect the tapestry to be to fit nicely into their space. Once I had received all the information I needed, I would work on a design concept, often two or three concepts, send them to the client and they would choose the one they liked the best. Along with the concept I would send them a quote for the cost of the work, the time it would take to weave and all details of how it would be woven, the sett, colours, types of yarns, etc. I would also ask them to pay 25% of the cost of the work upfront,
25% half way through, and the 50% balance on completion of the work. The clients were always happy with this process for payment and it worked well. Throughout the weaving process the clients could visit the studio at any time if they lived locally, or if they lived away, I would send the progress photographs from time to time and keep in touch. Occasionally the client would also come and sit down at the loom and do a little bit of the weaving themselves. I felt that when this was possible it would give them a personal investment in the work and they really enjoyed doing this. They would also be invited to cut the tapestry from the loom when the weaving was finished, another way of involving them personally in the work. I did enjoy doing commissioned work and I only once had a client who was not happy with the finished product. Luckily it was only a small work and I actually wove a second one for her in a different colour way. She was happy with that and I was able to sell the first piece to another client, so that turned out okay in the end.
Since my shift to Hamilton I have not sold much of my work, no tapestries, but just the odd painting occasionally. I am a super annuitant (retired) now, at the age of 74, and I am still able to earn some extra income from teaching drawing and tapestry too. I have two flatmates that help me pay the rent.
I do not have a Gallery representing me, but at present I am working on a major body of work for an exhibition in October of this year. This exhibition will include tapestries, drawings and paintings, and will take place at the Wallace Gallery in Morrinsville. Working in a private studio and not taking commissions has given me the opportunity to develop my own themes and hopefully extend my practice in other ways as well. I am hoping that this exhibition will give me a greater profile amongst the Art World in the North Island, as my work is not so well known here as it is in Christchurch.
Pricing my work has always been difficult for me. Here in New Zealand we do not have a history of tapestry weaving, and most people think cross stitch and embroidery is tapestry, so my work is always difficult to sell. I am not very good at trying to sell it either. I do not create my work with selling in mind, as I think that can stop an artist from producing work that is important and has something to say. Most people, I find, want to buy the ‘pretty pictures,’ landscapes and such, and it is often only the collectors and galleries that will purchase more serious work. The Christchurch Art Gallery purchased two of my collaborative tapestries in 2005 and that was great. This happened because the director at the time had a real interest in textiles, hence the sale of my work.
I do have Facebook and Instagram and of course, my website, but I have had no luck in selling from any of these. I have found that they are great for making contact with other artists but as I am not sure how to promote the work well on these sites, I have made no sales. I have been looking for an agent, for someone who has these skills to sell my work for me, but that has not eventuated either. New Zealand is a small market and I have not had the recognition amongst those who can afford to buy expensive tapestries, to enable me to sell them easily. It has been a feast or a famine for me since I decided back in 1985 to become a full-time artist specializing in tapestry. I have had some very good commissions for public art works in the past, and these have enabled me to keep working. I have lived alone since I left my husband in 1985 and made that decision to make tapestry and art my life’s work, and it has been a bit of a struggle at times, but I have no regrets about that choice at all.
My website needs upgrading as I am unable to go into it myself and make any changes and this is not satisfactory. I have started to develop a new website, but it is often put into the ‘too hard basket.’ When I do manage to create a new website, I think that I would not put the prices on the website but have them POA, Price on application, as once a price is stated so publicly then it must remain at that price and cannot really be changed, no matter the circumstances. In conclusion, I have been weaving tapestries now for 38 years with hardly any time without something on my loom, and I feel it is a bit of an obsession, but hopefully a healthy one. Being an artist has helped to keep me well and healthy and I hope to have many more years to produce more good work.
Marilyn Rea-Menzies lives and works in New Zealand. Marilyn says about tapestry: The architectural process of building the tapestry, actually constructing the fabric and image together so that the two are physically and visually inseparable, relates very strongly to the process of constructing and building our lives and our living and working spaces.
I fell into it accidentally. I thought documenting my process would be a good idea. Maybe I heard or read that it was a good thing to do, I really don’t remember. I’ve been saving my old tapestry cartoons and everything that went into the design process since my first tapestry. I have a file drawer full of manilla envelopes stuffed with all manner of papers from each design. Even the ones I decided not to weave. You never know.
Last year I took a class in making and editing videos. Then I bought a new camera that takes great photos and especially great videos. I had a good time recording the process of designing, dyeing and weaving for my corset project. I made three videos, each documenting different aspects of the process along with lots of photos. The natural next step was to post each video as I made them onto my website. Now that I’m almost finished with the corset I have created a page with my collection of documentation.
Documenting your process is different from documenting your work. Many of us do that already. We have photos of each of our tapestries which we use to enter into shows and put on our websites for example. Documenting your process is recording the steps you go through to create a design and a tapestry. It is a chronicle of the raw materials that leads to your finished work.
I’ve learned that documenting your process has several benefits. It can help you reflect on your process and think objectively about what you’ve created. It allows you to contemplate the direction you’re headed in and to assess the implications of current, as well as future work. Documenting your process is a great way to stay in touch with your commitment and inspirations for wanting to be an artist, and with what art-making ultimately means to you.
On a larger scale your work will be more likely to be taken seriously by museums, galleries and collectors if that’s the direction you’re striving to go in. It’s also important for someone doing research about an artist to have a wealth of documentation to draw upon. Like I said, you never know.
Documentation is also great for use in social media. My weaving can be so slow and intermittent that for me, it’s ridiculous, if not impossible to post my daily or weekly progress, not to mention a bit boring. Think about what you like to look at, that’s likely what people who follow you want to see. I love to see how another artist/weaver’s process develops. It also gives more meaning to a work when you can see the development of an idea and sometimes sparks an idea in me to work on.
There are many ways to document your process. It can be as simple as a series of photographs with your phone or camera and put it in a folder, be it digital or manila. If you want to be a little more high tech the iPhone 8 has a time lapse app that captures lots of photos over a period of time, and then assembles them together to create seamless video footage that appears sped up. It’s the opposite of slow motion videos where time appears to be moving more slowly. You can take short videos and upload them directly to Facebook, Instagram or Vimeo for instance and link them to your webpage if you have one. Or start your own blog and use it as an art journal that you share with others. All this helps to develop a following of people interested in what you are doing and perhaps buying your work if that’s what you want to do. It also builds community.
When you’re ready to begin the documentation process, be sure to consider the viewer. Don’t get bogged down in personal details. You can make this process a daily or weekly habit when you set a time to document your process. Here is an example of how I have used documentation on my website. Here are two sites that can help you on your way: Documentation for Artists and Suggestions For Explaining Your Art to Viewers
If you’re already documenting or just starting please share it with us in the comments section.
THE BLOG TOUR
January 22nd: Molly Elkind: Collage as research
January 23rd: Ellen Bruxvoort – Vlog on Instagram about her design process
January 24th: Tommye Scanlin: Literature as inspiration
January 25th: Debbie Herd: Digital design tools
January 26th: Barbara Burns: Documenting your design for promotion
WIN ONE OF 26 PRIZES!
Follow all the stops on the blog tour to increase your chance to win one of the following
prizes: $50 towards a Mirrix Loom, a Hokett loom kit, a Hokett Tiny Turned Beater, a project
bag from Halcyon Yarn containing rosewood bobbins and a voucher for their online shop, a
voucher for Weaversbazaar’s online shop, a free entry into ATA’s 12th international,
unjuried, small format exhibition and a free one-year membership to ATA.
Here’s how to enter to win. Comment on this blog post then go here to let ATA know that you
commented. The more blog posts you comment on the more chances you have to win so be
sure to follow along. Ellen Bruxvoort is doing an Instagram video for the tour and if you
respond with a photo or video on social media describing how you design tapestry you get
five extra entries in the giveaway. Let the sharing begin!
To win another 5 entries into the giveaway enter to exhibit in The Biggest Little Tapestries
in the World, ATA’s 12th international, unjuried small format exhibition, and then let us know
that you entered by going here by Sunday January 28th. For this exhibition all entries get
accepted to exhibit as long as your tapestry fits within the size requirements!
The Biggest Little Tapestries in the World, ATA’s 12th international, unjuried small format
exhibition is open to all weavers. We invite entries which fit more traditional definitions of
tapestry, and also entries that expand upon the core principles of the medium as they
explore new techniques and processes. Multimedia work is welcome. The Biggest Little
Tapestries in the World! will hang July 2018 at the Northwest Reno Public Library, 2325
Robb Drive. The entry form (intent to participate) is due February 15, 2018. The tapestry,
and an image of the tapestry is not due until March 31, 2018. Find more details here
ABOUT AMERICAN TAPESTRY ALLIANCE
The American Tapestry Alliance is a nonprofit organization that provides programming for
tapestry weavers around the world, including exhibitions (like Tapestry Unlimited), both
juried and unjuried, in museums, art centres and online, along with exhibition catalogues.
They offer workshops, lectures, one-on-one mentoring and online educational articles as
well as awards, including scholarships, membership grants, an international student award,
and the Award of Excellence. They also put out a quarterly newsletter, monthly eNews &
eKudos, an annual digest. Members benefit from personalized artists pages on the ATA
website, online exhibitions, educational articles, access to scholarships and more.
You’re invited to exhibit! The Biggest Little Tapestries in the World, ATA’s 12th international,
unjuried small format exhibition is open to all weavers. We invite entries which fit more
traditional definitions of tapestry, and also entries that expand upon the core principles of the
medium as they explore new techniques and processes. Multimedia work is welcome. The
Biggest Little Tapestries in the World! will hang at the Northwest Reno Public Library, 2325
Robb Drive. The entry form (intent to participate) is due February 15, 2018. The tapestry,
and an image of the tapestry is not due until March 31, 2018. Find more details here