Thanks and encouragment

Bailey Bradshaw

Bailey Bradshaw

Joined
Sep 13, 2001
Messages
816
First off, I want to thank everyone who has sent condolances, support and most importantly, prayers for me and my family. Losing a parent is not the easiest thing to go through, and having lost two in five months has been a blow. Several of you sent cards, and it really helped to lift my spirits. The thread here on the forums did the same, and I count myself blessed to be in this company.

OK, now with that said. I have been really digging to come up with some special pieces for Blade. I have several books on engraving, Japanese swords and fine firearms. I peruse them often looking for inspiration, ideas and new techniques to persue. I got to thinking about the level of work I want to make, and the level of work I am able to create. Unfortunately, the two sometimes seem miles apart. I am coming into a point in my career where I feel my skills are at a level that I can just begin to bring to life my most coveted ideas and designs. There is much room to improve, and I am the first to accknowledge that, but I also feel that if I see it, I can at least do justice to the design. I always see areas that need more attention, so I focus on that specific detail until I feel more comfortable with it. It is like a spiral, and I have come back to the same issues on my knives and engraving several times, each time trying to eek out a more perfect end result.

The whole process is and has been a lot of fun and extremely rewarding. It can also be frustrating when trying to keep a family clothed and fed. The biggest single frustration is having a wonderfull idea, and no way to bring it to life due tothe time/money factor. Simple fact is, with no one to financialy back the project, the time exspenditure is too great to invest with no realistic idea of when the project would be sold. It can be a big let down, and feel like the old "I know I could if I just had a chance" situation of most of our early years.

I know other makers go through this as well, and it is just as discouraging for them. The real encouraging view is that when a collector and maker do collaborate, and use all of a makers tallent and skill, pieces like the King Tut dagger appear. Rick Eaton's midevil folders, several pieces totaly engraved by the likes of Linday, Alfano, Churchill. Masterpiece shotguns and double rifles that just defy logic. Going back though history, Grant's sword in the Smithsonian, The Bradford/Price dagger, numerous Tiffany embelished firearms , wonderous Japanese sword mountings. I could go on and on. All of these projects had finiancial backing (unless you were a slave, literaly or other wise), and historical landmarks were the result.

Of course it would be wonderfull to have a bank of customers willing to do this, but I know most of us just don't have the means to entertain it. For many of the up and coming makers, who are affordable, it is a huge encouragement. I had a collector do it for me, and it meant the world to have someone put that kind of trust in me and my work. It was a landmark piece in my career.

It's something to think about. As an artist, it gives you total feedom to "spread you wings" and see what you are capable of. For the collector it gives you a piece without compromise, a piece that draws every ounce of talent that maker had at that time in his career. It could only be a good thing for the parties involved, and indeed the whole community for the statement it makes on the makers behalf. "This is all my skill, on this given day".
 
Bailey, my friend, hang in there. You'll be just fine. Your work continues to get better and better(hard to imagine, but it's true). :)
 
Sometimes those periods of self-doubt are what fires ambition. As Danbo said, amazingly enough your work keeps getting better. Hang in there.
 
i'm new here, but i'd like to chime in on this subject. i'm in complete agreement that as bladesmiths, as well as just about any other artisan are in a difficult position trying to balance financial/business issues against the creative process.

new craftsman getting started in their careers are obviously in a tough position. without the reputation or skill of a more expernienced artisan they have a difficult time selling their work for what it's worth, or maybe even what it cost to produce.

helping an artisan work past the business concerns by funding a truely special piece can certainly be a confidence booster and help an artist move to that next level.

most makers that have sites have an 'available work' page, has anyone considered doing a 'work seeking sponsor' page? obviously, it's easier for collectors to sponsor works by artists that they're comfortable with, and have a prior relationship with, but it might be a good way to put some ideas out there.
 
Bailey Bradshaw said:
....I am coming into a point in my career where I feel my skills are at a level that I can just begin to bring to life my most coveted ideas and designs. There is much room to improve, and I am the first to accknowledge that, but I also feel that if I see it, I can at least do justice to the design. I always see areas that need more attention, so I focus on that specific detail until I feel more comfortable with it. It is like a spiral, and I have come back to the same issues on my knives and engraving several times, each time trying to eek out a more perfect end result....
Click to expand...

Given the extremely high level of work you have created to date, that is truly an inspiring sentiment. An attitude like that will serve you well, and serve your fortunate customers even better. Keep doing what you're doing Bailey.

Roger
 
Bailey,

This post was well written and it is not often you find a maker willing to share the thoughts that are going through their head in regards to their work. I found it very enlightening.

First of all, it is readily apparent from this post that the quality of your work is of the upmost importance to you. This is very admiral from a maker's point of view and very desirable from a customer's. I think statements such as these do very well to instill a potential customer's sense of confidence in your work that is required for a maker to be given the artistic freedom you refer to.

I also agree with the comments on the work being described as a "period piece" for the maker. While it would be a little obvious for an example, just how cool would it be if we were able to look back at the "10 yr." knives from some of the noted knifemaker's of today. I think it would be fascinating to be able to see the skills mastered by the maker defined in a stunning piece of cutlery of his own design.

For those fortunate enough to be able to commision this type of work, what a wonderful opportunity it would be.
 
hi Bailey, after the Koi Katana sword you built for me you are definitely in my top 3 favorite list and you know i'm always pestering you regarding next projects... :) i'd be willing to sponsor such a project and let you go wild and rampant on what you need to let out of your system. you know the type of sword and knife i like. just email me and let me know what you have in mind and maybe we can work together.

sincerely,
mike e

ekim60618@yahoo.com
 
Thanks for chiming in. I think most makers feel the constraint of the financial burden their work often has to carry. I know EVERY full time maker does.

I like the idea of a web page that outlines these potential projects, and just the exercise of putting the ideas on paper are a huge learning process for the maker.

When I went for my MS stamp, I was fortunate to have a collector back me financialy on my dagger. He set a price point that allowed me great freedom, and the comfort to take my time and push my limits. Unfortunately, he passed away, but was a wonderful man with tremendous spirit that positively impacted many makers. My dagger, at that point in my carrer was everything I had in my bag of tricks. It made me grow more than any other knife I have made to date. I got my MS stamp, won "Best hand forged knife" award at Blade, and most of all, have the satisfaction of a happy collector in the end.
Here is a pic of it.
 
Hi Bailey,

If this is what you truly want and see yourself headed. Why wait for others to fund these projects. If you truely feel these exceptional works will be worth the money then you should look into funding these yourselves. Personal lines of credit and Home Equity loans and lines of credit are readily available to those with good credit.

Putting not only your time and talent into a project but your money as well. Can only further your resolve and show future potential investors you truly do believe in your knives.

As we see Social Security collapsing and corporations being excused from fullfilling their pension plan obligations. It is becoming obvious the days of expecting others, even those who promised they would, to fund your future plans is going by the way side.

The longer you wait the better the chance that another maker will seize your ideas (or something similar) and make it their own. At that point they become the innovator and you will be looked upon as a imitator.
 
I respectfully disagree with WWG. I think that Bailey is right on his direction. I also think that it's going to be a long process. I know that a variety of top makers do things this way. That's an old tradition to have "patrons" help commission the most awe inspiring art pieces ever made. There are exceptions of course, but it's even harder that way (see Van Gogh...)

America is one of the last countries on earth free enough that the main inflow of money comes from private individuals. In France where I come from, the regular way for art is to get subventions from state agencies. As you can imagine, knifemaking isn't high on their priorities, but it happens every once in a while - but it takes a lot of dealing with red tape.

There's an evolution we collectors go through, from the moment when we want someone to realize our own visions to the time when we want an artist's vision. Personally, there are some less ambitious pieces I like to give a lot of input on, esp. users, but on fancy art pieces I'm moving away from doing that, unless the maker specifically enjoy this.

The role of the artist is to educate the customer. Make it clear to them that they have a choice: they can have a high quality piece, or they can just let the maker do whatever they want and get something much more inspiring. In my mind, there needs to be a key benefit in buying something "sight unseen". It's even more difficult because the essence of those pieces is that they are pricier than most of the normal production.

Speaking of which, I'm curious what Bailey is talking about. For you to start spreading your wings, what would you need? What is the $ amount at which point you really have the opportunity to stretch your ability? Is it at $1,000 - $2,000, or is it $5,000+? Obviously, this dagger is a very expensive piece.

If you're talking of $5,000+, then most of us collectors are excluded. The good news is that there are a lot of rich people in the US (when I moved to Seattle in 98, there were more than 15,000 millionaires living there - there are more now...) Many of those wealthy people would like nothing more than to spend their money in a meaningful manner. There's a point where what matters to people is not how much money they have but what they do with it. Some fund scholarships or research grants, some fund charities, some become patrons and leaders in the arts.

The bad news is that those people are still a very small % of the population, and they are constantly sollicited. So to get access to them requires tremendous networking skills. You need to think creatively, and display your finest work at some places where those people are likely to be, beyond knife shows. I don't know what is the right way to do that. One option is to select a few very posh areas and see when they have craft shows. For example, I suspect that a craft show at Vail must see quite a few wealthy people stroll by. But you need to brainstorm some more on this.
 
Bailey Bradshaw said:
I like the idea of a web page that outlines these potential projects, and just the exercise of putting the ideas on paper are a huge learning process for the maker.
Click to expand...
Actually, that's a good idea. You can display what you want to do and doing so should be cheap - just a nice drawing, some text, etc. Then you can put a price tag on it and offer viewers the opportunity to fund the project. I like that. From a collector's standpoint, it's even better because it allows me to know what I'm getting into.
 
This a very interesting thread which gives an insight into the dilemmas often faced by the self employed and in particular , artists, whatever medium they express themselves through. It is not unknown for makers to advertise that they are looking for a collector or patron to collaborate with on one of their unique and ambitious masterpieces.

Whilst I understand the sentiment of WWG, my personal view is that it just may not be possible for some makers to secure the financing to engage in these type of "journeys" without a specific commission or patron. In my experience financial institutions respond much better to 3 year business plans and a secure income, than they do to the "I have a vision, a work of art ....." opening gambit.

Art (and I take the liberty of using this word deliberately, infering from Baileys monologue that the pieces would be classed as such) is intrinsic , subjective, and highly individualised by definition. Too much so I would offer, to risk the potential consequences of not being able to secure an immediate sale (greatness in art is sometimes a matter of timing, witness the example of Van Gogh already cited). The market for such high end pieces is too limited in my view to incentivise a person to run the risk of insufficent funds for other essentials (not to make any assumptions about any makers circumstances) such as mortgage and medical expenses for example, as I would forsee capital rationing and cash flow being the major constraints here.

I for one believe that you get a makers best work when they are working on a piece that really motivates and inspires them. It therefore goes without saying that as a collector I would be entremely interested to see ideas from makers in specific areas of their websites, or to be added to a makers "short list" of collectors who they contact to advise of projects they would like to undertake. However, not being one of those millionaires that Joss refers to, I would also like an early ball park figure on the size of the investment.

Stephen
 
Hi Joss,

As you accurately pointed out it is difficult to get access to that 1%. Access is much easier for a proven performer to gain the attention of an influential. These are the trusted advisors of that 1%.

Promoting art or artists among the very wealthy seems to be done to a great degree for maintaining and/or improving status among their circle. Most of these people who endow the arts are women, take Ray Kroc's widow for instance.

Like it or not you would have a better chance appealing to their maternal or social instincts. Knives are generally not on the radar of these women.

While men like to spend money on toys. Many times it is as much to impress as it is the fun of using or owning the toy. Case in point, Chevy came out with the Avalanche truck, kind of a cut down Suburban. Cadillac then came out with their version of a 4 seat pick up truck??? Not to be outdone Lincoln has now launched their new 4 seat pick up truck....Lincoln? I guess the Navigator is not manly enough. How about the Hummer for 100K?

It will not only take exceptional networking skill. It will take a value added benefit beyond the materials and skill necessary to create the knife. How much time, money and effort will have to be expended in order to become part of this network.

Joss I agree with you that this country has people who can easily fund Baileys' project (s). By the same token this is a country that also prides itself on self-reliance.

Im the type of person who hates to wait for a Red light to turn Green. I have always found being proactive is one of the keys to success in anything.

Best of Luck Bailey.

WWG
 
Like Joss, I disagree with WWG. I understand the concept, but from experiance in self employment (8 years now), I can tell you that borrowing money is the kiss of death!!! It puts a business under strain and at risk. Both are a detriment and business is hard enough. Of course this refers to the issue at hand of financing a project with the hope of someone finding it irresistable and purchasing it. The return on the investment would likely be lower than if a custoemr says "Yes, lets do this, and here is the price limit!" that way the work is done witht he promise of "X" dollars return, so planning on time, materials and logistics can be realisticly arranged to produce the amount of profit needed from teh project. Anyway, there is also no interaction with the customer, which makes projects of the magnitude wea re discussing so special.

Joss,

mentioning a monetary figure, I would say from $3k up is a good place to start for me. I am a little less expensive than some of my contemporaries, so I don't expect this to be adequate for everyone. I am really involved in Japanese swords at the moment, and one of my "big ideas" is a very elaborate Tachi similar to the photo I attatched. I know I can do this, but also know it would take a month or more of solid work. Something like this would run $6k + or -. It's one I would love to do, and probably only want to do once. ( big projects have an element of burnout for me when they are complete).
 
I'm not an art historian, but I can't recall any major piece of art - especially one that requires a big upfront investment - executed without a patron. I am readin a book about Frank Loyd Wright, and he was obviously commissioned on everything he did (except his own house, and that was where his financial troubles were the worst).
 
Joss said:
I respectfully disagree with WWG. I think that Bailey is right on his direction. I also think that it's going to be a long process. I know that a variety of top makers do things this way. That's an old tradition to have "patrons" help commission the most awe inspiring art pieces ever made. There are exceptions of course, but it's even harder that way (see Van Gogh...)

...

There's an evolution we collectors go through, from the moment when we want someone to realize our own visions to the time when we want an artist's vision. Personally, there are some less ambitious pieces I like to give a lot of input on, esp. users, but on fancy art pieces I'm moving away from doing that, unless the maker specifically enjoy this.

...

The role of the artist is to educate the customer. Make it clear to them that they have a choice: they can have a high quality piece, or they can just let the maker do whatever they want and get something much more inspiring. In my mind, there needs to be a key benefit in buying something "sight unseen". It's even more difficult because the essence of those pieces is that they are pricier than most of the normal production.
Click to expand...

joss - i couldn't agree with your post more. when i comission a piece of work i usually have an idea in mind, something i'd like to see made flesh (or steel in the case of blades). but not being an artist myself (a computer geek is about as far away from artist as you can get), i'm not likely to design anything really amazing.

i do think i have a pretty good eye for recognizing talent though, and finding a remarkable artist who has a great idea is something i very much like to be involved with. i suspect bailey will have no trouble finding patrons for projects he'd like to do (up to a certain point/dollar ammount), given his reputation and obvious quality of his work.

lesser known makers who haven't made a name though will likely have issue finding funding for any sight unseen project. i think bailey's point is that collectors should take a chance on projects from up-and-comers if they believe in a particular bladesmiths work.

regarding WWG's point about basically putting your money where your mouth is. i respect where he is coming from, and if you believe in yourself it certainly is a good idea to 'go for it' whenever possible. but in the case of high-end pieces that require a lot of time, the market i suspect is relatively small.

as an example i cite my grandfather who built homes for a living. normally he did built to order, comissions if you will. toward the end of his career he decided he really wanted to build one great home, a true masterpiece. the result was an amazing house that anyone would have been proud to live in. it was also terribly expensive, and while it attracted lots of attention, it attracted few buyers. he was forced to sell it, for less than it cost him to build, two years after it was completed.

in short, i think bailey's idea of having patrons for particular projects an artist wants to realize is a good idea. whether it takes off or not likely depends on the imagination and ambition of the knife makers out there.
 
Bailey - one more question. In the case of your dagger, did you actually get upfront payment, or did you just get a guarantee?
 
Guys,

I am under the impression that this is not a $2,000 - $3,000 knife Bailey is talking about. If it is then my comments are not pertinent as there are plenty of buyers around who can pay that for a high quality cusotm knife.

I got the impression Bailey was talking $10,000 and up.

The problem you run into at that level is now people look at it as an investment. For that kind of money you have to start looking at Loveless, Moran, Scagel, etc.

Yet another obstacle.

Question Bailey what price range are you looking at?
 
Bailey that sword is awesome! If I had the $6k I would tell you to run with it, do it your way and document its creation every step of the way. Knowing your work as I do, I have no doubt that I'd be getting a $10K sword for my $6k.

I truly do hope you find a patron for this project - I would love to see it come to light.

Roger
 
A very thought provoking topic. I wish I was in the position to be able to bank roll any maker, but unfortunately that is not the case.

I know a maker that had a patron that commisioned many works from him. I personally thought the knives this patron commisioned were gaudy, garish and as far from anything I would want as you could possibly get. However, this did give the maker the opportunity to hone his skill, because the knives were all very difficult and demanding designs. Each of these knives were many thousands of dollars and were not something the maker would have ever considered doing on his own. The designs may well have been unsaleable to anyone other than the person that commisined them.

Bailey, I hope that you find a person or persons that can financially back your projects. The work you do now is outstanding, but I can just imagine how much being able to push the envelope would enhance your ability. With your talent the sky would be the limit and it must be frustrating to be held back due to lack of sufficient funds.
 
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