When we met artist Hailey Morgan at her home in Anchorage, Alaska, she showed us her newly built studio in her backyard — it gets tons of natural light and was one of the most beautiful we’ve seen yet.
Hailey moved to Alaska from the lower 48 and has embraced the state’s natural splendor by translating what she sees around her into her own unique style of art. Never shying away from trying new sales channels, Hailey utilizes art shows, galleries, online platforms, wholesale accounts, commissions and booths at pop-ups/festivals/bazaars to create a well-rounded and sustainable art business.
In our conversation, Hailey shares:
- Why incremental and steady self-improvement produces the best results
- Why it’s always important to remember “it’s art, you should be having fun”
- How she sets herself apart through her branding
Can you give us a quick overview of who you are and what you do as an artist?
Yeah, of course. I’m a visual artist. I work with watercolor and ink, and pyrography, primarily.
I grew up in the Pacific Northwest and moved up to Alaska about five years ago with my husband, he’s from here and his whole family is still up here.
As an artist I’m working on so many different things it’s hard to pinpoint — I usually have about ten different projects happening. I’m very fueled by having a deadline, an event or an art show. Working with other people keeps me creatively motivated.
My biggest restraint is time. I always wish I had more time to actually make all the things that are floating around in my brain and put them down on paper, put them on wood.
I had an art show at Middle Way Cafe two years ago in June and July and that felt kind of like a turning point up here where I started getting a lot more recognition for my artwork. I still have people come up to me so excited saying, I remember seeing your stuff in Middle Way!
Right now I’m getting ready for the holiday season because that’s going to be very busy with all the pop-up shops, different bazaars and art shows I’ll have.
How do you get involved in different pop-up shops and bazaars?
I started off slowly by picking one in the summertime and one in the wintertime. And then it grew to three events in the winter and three events in the summer. And now it’s just—I have no idea how many events I do in a year, but it’s a lot and it’s fun.
Then all of these pop-up opportunities started coming up and I just started saying yes to as many of them as I could feasibly do that fit within the realms of my art, had other artisans with a similar aesthetic and would draw a similar crowd. Risha [Toci], of Little Fish Workshop, puts on the Maker’s Market here and she does a phenomenal job of curating a market that really speaks to my perfect customer.
From October through mid-December I will have an event, if not two, almost every single weekend, and that’s because I’m crazy and I like to stay busy. But also because it’s such a condensed monetary opportunity right before the holidays. So winter is this huge, intense thing that just kind of dissipates very quickly.
Summer feels a bit more loose and January through April is really dead, people aren’t really shopping, there’s not a whole lot of things happening for creative opportunities. I’ll still have art shows during that time, but for the most part I’m not very busy during that time.
What are your costs like for traveling to different fairs and having booths?
There’s the booth fee and, if it’s a one-day event, it’s usually between $150 to $200. With the events that I’m doing now where I know there’s going to be a turnout, there’s no concern about making that back in the actual booth fee.
Some of them are more expensive. To be a vendor at Salmonfest [in Ninilchik, Alaska], which was a really fun three-day event with concert tickets and camping, was about $600 for the whole weekend, which feels like a bit especially if it’s an event that you haven’t done before.
There is that point where you don’t know what you’re going to get and so if you’re paying a lot for the booth fee, then it might not work out. But because I have such a variety of price points for customers to purchase from — I mean, so many people love stickers and the $5 purchases really add up very quickly to the point where I’m not too concerned about a $200 booth fee.
Usually, most of the ones where there’s a lower turnout it’s a really low cost to do a booth. When I first started out I did Spenard Farmer’s Market, which was from 8 a.m. to 2 p.m. Not the ideal time for people to be shopping for art, quite honestly, but the overhead was $20 for the booth, so I felt pretty good about just setting up and figuring it out.
Then there’s also the cost of the actual setup, and the initial setup for your first event could be quite a bit. If you’re doing outdoor events— I got my tent at Costco and it was $200, and I have tables and chairs. So you could be running $1,000 just in your setup, let alone in your product and inventory. But then once you’re set up, you’re set up and you can just keep doing it. It’s like you have your mobile store with you. So it’s an investment but it has always worked out for me.
Then there are sometimes other fees. I just had to get a permit for the City of Palmer, for the State Fair. So those things start adding up.
Because we just got this short bus that has been converted into a camper — it is adorable and very comfortable, it doesn’t even feel like camping — that’s really cut down on our costs as far as traveling and moving the supplies and all of the inventory.
And do the fairs and markets do most of the marketing or do you have to do some of that on your own as well?
I always do marketing for myself as well because I know that the event’s marketing won’t reach everyone. And it’s actually really incredible when I have people who come to an event who say, I saw your post on Instagram, that’s why I’m here. And that feels so good! I always tell them thank you. It feels good to hear that it’s working, to know that social media is being utilized as a tool for advertising and that there is some sort of return on it — all that time that I put into making my posts and looking at Instagram. Because, let’s be real, once you get on Instagram, you start looking through Instagram. But there is a return on that time and it feels pretty cool to have that direct interaction with customers. Social media is such a vast place.
It can be a black hole.
Yeah. And something that’s really cool about the Anchorage art community is that even though we all—I mean, I don’t want to say we all follow each other online, but basically we all follow each other online. And then there are these events where we get to actually meet each other.
So there is the online presence where we’re interacting in an online scope, but then there’s the face-to-face interaction as well, which I really appreciate.
Nice. And how does your social media marketing fit into your overall marketing strategy, and what do you do for that?
Just tell people about the actual event. I try not to get too abstract with social media and I try to stay pretty on point and direct. I try to give insight into both my process and a little bit into my personal life, because that’s part of art, you really do want to pull people in because it is so personal. But I also keep a separate personal account.
But just letting people know about the event before it happens. And I try to space it out — a week before, a couple of days before and then day of. So that way if you missed it then, you see it now. But most places do a pretty good job of putting some sort of word out there to get people to come.
How do you spend your time during the slow months?
Well, I have a vast list of projects and quite a few pieces that I’ve started. I try to actually go through that pile or get thoughts down on paper. But I’m also going to give myself time to relax and go on vacation.
Just constantly making art, though. But the time, it goes by so fast, and then it’s the busy time again. I really think that I’m going to have all this down time to work on things, but, you know, taxes. [Laughs]
Yeah, so how did you learn the business side? Things like taxes, accounting and all that?
Trial and error. I have no formal training in business or in art, so it’s grown really organically, which is nice. I haven’t felt like I’ve pushed something beyond what I’m capable of and I learn as I go. I’ve had the chances to make mistakes and then apply it to how I can do better.
For example with taxes I use TurboTax. But doing a better job of keeping receipts where I’m like, Oh dang, I know that I bought more paint than that. So just having an organizational system. Something that I’m trying to do is always improve a little bit, reflect on what I did the last year and how I can do better this year.
I’m trying out some technology like QuickBooks. We’ll see how that goes. It’s one of those things where you just have to get in the habit of it to utilize the tool in its proper way.
I do feel like I could get more advice from professionals on the business end because I bet that there are things that I’m missing and more that I could be doing to make sure that I am on top of everything.
Something that I’m constantly working on and trying to improve is managing inventory because I do have online sales coming in, I am working with a lot of galleries, I have a lot of different pieces that I’m selling and showing. I try to make it so that I have items on hand and don’t have to run out and get the prints made. I don’t like doing things one at a time. When I do prints, I want to package, like, 200 prints at a time instead of doing five prints at a time. Assembly-line style. Invite some friends over, maybe give them a glass of wine and trick them into packaging things for me. [Laughter]
Where do you keep your inventory and how do you keep track of what you have?
I have a room downstairs. It’s just keeping everything filed, looking at it and knowing how many events I have coming up. If I buy 10 prints of the Alaska Yeti, I might only sell two of those at one event but then I have another event where I can sell the next five, and three of them can go to a gallery. Gallery orders can put a little bit of a hitch in that just because it’s harder to anticipate if it’s going to be a big or small order.
With my inventory nothing has a timestamp, nothing is going to expire. Unless it’s calendars, in which case I did make a big mistake with that one year where I ordered far too many of them in order to get the right price point — the more you order, the less expensive it is. So I could have maybe spent the same amount of money and made the same amount of money without having a bunch leftover, which is kind of a bummer to have that extra stuff, which I’m just not used to.
For the Alaska State Fair I used to work through a gal who would carry stickers and prints for me and I didn’t have to be there, but she’s no longer doing that. So I decided to just start with the two Saturdays. It’s an event that I’ve never done before so I don’t know what the sales are going to be like and it’s harder to anticipate what to bring and what’s going to sell. So I just have to be prepared for everything.
Are there any other places that you sell besides the festivals and fairs, and then your online store and website?
So I’ll do wholesale, commissions and consignment. I’ll take commissioned work from people, but not very often, quite honestly. Part of that stems from not selling my original watercolor and ink pieces. If people want an original watercolor or ink, they can commission something and I have a process and procedure for that.
More predominantly I do consignment and wholesale with several galleries and shops around Alaska. And then just miscellaneous sales where people will contact me online or, it’s not exactly a website sale because it’s from an art show that they saw six months ago, but they’ll say, Hey, do you still have this piece? I’d like to purchase it.
I’ve been working towards trying to do more wholesale accounts because that’s how a lot of shops in Alaska work, especially with how much tourism we get here in the summertime. There’s a lot of stores and galleries who just want to do wholesale — get a large quantity to stock up for the summer, and it takes a little bit to get to the right timing with that.
What does the agreement look like for consignment?
I would say galleries take 30% minimum and then the most that a gallery I work with takes is 40%. So all pretty good. They’re all really artist-centric and want to promote and support their artists, which is really cool and I think that creates a really great business relationship and dynamic. And especially in Anchorage with so much tourism I’ll send people to galleries locally because they have a piece on hand and customers can just get it, put it in their suitcase and take it home instead of having to wait for it or deal with shipping.
Going back to your watercolor and ink originals, why don’t you sell those pieces?
So when I first started I knew that I would never get as much as I thought that it was worth because it’s so personal and I put so much of myself into it. And there’s a point with art where it’s either people are going to buy it or they’re not, there’s not really an in between.
Trying to price original artwork as a beginning artist is really challenging because nobody knows your name. You can have the most amazing artwork, but unless you have that name recognition people don’t want to pay what you’ve put into it, unfortunately, and I feel too much of an emotional attachment to it.
When people want original artwork, I want it to be personal to them. So when they ask me if they can buy an original I say, Well, I don’t sell my originals but I can do something that’s tailored to you, there’s a whole process where we do a lot of communication to find out exactly what you’re looking for. And then I can recreate pieces based off of other pieces, but really with that person in mind to make it a more personal piece for them.
But I do sell the originals of pyrography, which is the wood burning and watercolor. And the reason I do that is because they’re bigger and I don’t want to store them. And I don’t do prints of them because the quality and the depth of the wood just doesn’t translate to a print and I don’t want to mess around with that.
And how have you figured out your pricing?
With reproductions like prints and canvas prints, it’s based on a lot of different things, but that’s a very easy equation where retail should be double whatever wholesale is, and wholesale should be double whatever the production price is. And they’re limited-edition prints, so I put that limited quantity into that price point as well.
When it’s original stuff, which I do like to have some handmade original things that are smaller, like I’ll do bottle openers or hooks with the pyrography technique, for those it’s the time put into it, the cost of the actual materials and how much detail is actually in it. That’s always in flux for what I’m actually going to charge for it.
Okay. How about a commissioned piece?
Well, with watercolor and ink it depends on the size and the details. For a 5” x 7” it’s usually $200 and an 11” x 14” is $850. And even though there is part of me that would want to charge more for it, I like charging that amount because I’m making it for somebody else, so the intention is different, and it feels like a little bit of a different process for me. For pyrography, it ranges from $125 for 1’ x 1’ to $850 for 4’ x 2’.
So for your prints and things like that, how do you approach raising your prices?
I did raise my prices on my prints this year and part of that is comparing prices with what other artists are charging. Because I think it’s really detrimental when artists undercharge what they’re selling, both to the artists themselves selling that artwork, and to other artists around them.
The price of the actual materials changes, and I’ve got to pay for my new art studio. I’m always looking to improve my printing process and improve my organization process and the underlying cost of things.
But it’s more looking at what other artists are doing and just making sure that I have comparable prices and that I’m not undercutting anyone or overcharging. So it’s finding that nice middle ground.
You mentioned that stickers are one of the things that can sell well. What else sells best for you?
I mean, I can’t emphasize enough: Stickers sell so well. Stickers are a really amazing and almost surprising product that moves very quickly and very well. I think it’s got a good price point and it’s something that people can collect. There are so many artists up here who are making stickers that it turns into a collection thing.
There are certain images of mine that sell very well. Mama Moose and baby moose with mountains in the background, that’s my best-selling print, followed by the belugas. We do get a lot of visitors from out of state, and people in Alaska, who are quite drawn to something that’s Alaska but also just a little bit different — because there are flowers blooming from the moose’s antlers and flowers spouting out of the beluga’s back.
Mama Moose 2015. This sweet moose and calf is one of my best-selling pieces of art. I took the idea of the horned giraffe creature from the Sewing Lady piece and stylized it as a Moose-esque animal. I wanted to capture a tender yet playful moment between the Mama and the calf. —Hailey Morgan
Belugas. Alaska is a wildly inspiring place to live. After an incredible camping trip in Turnagain Arm (right outside of Anchorage) with a full moon and beluga pods fishing just off of the shore, I knew that I wanted to do a piece of art based of these incredible creatures. I like to add elements of magic here and there in my art which is why one of the Belugas is spouting a bouquet of flowers. —Hailey Morgan
So I have certain images that do really well. Sometimes I have a hard time predicting what those images are going to be with prints. There are some things that I think people are going to react to really well and then they’re not quite as excited as I am about it. And then there are other things that I get very surprised that people are so excited about and usually that’s something that I’ll turn into a sticker or a card.
I like to test the market a little bit before I decide on new stickers just because the more you order, the less expensive it is, and I don’t want to be sitting on a certain type of sticker. I mean, everything moves eventually, but some things move more slowly than others.
What does that testing look like?
Just bringing prints out. Typically I will produce a lot of artwork for an upcoming art show and have everything printed onto canvas prints and I will replace art as it sells throughout the month.
So if there is a certain canvas or piece that I sell three prints of in one month, then I know that that’s going to be something that people are responding to well. Or I just get communication online as well, from Instagram, Facebook and whatnot. But you know, Instagram and Facebook are not always clear indications of what it’s going to look like actually out on the market, because a “Like” is free, but that doesn’t mean that people are going to actually pay to have that piece of art work in their life.
And different events bring different sales of different items. Some events I’ll barely sell any prints but I’ll sell a ton of stuff off of my display wall in the back where I have canvas prints and I try to do at least some original pyrography because there’s always people who come in and say, I only buy original artwork. And then, of course, I’ll tell them about the commissioned artwork policy that I have.
I have a coloring book which, once again, there are some events where it sells really well and some events where I don’t sell it at all. I have small prints, large prints, cards, stickers, bottle openers, hooks and animal pins and then canvas that goes on the walls. There’s a lot for people to look at when they come into my booth.
Yeah, a little something for everyone.
Yeah, yeah. And I try to have a variety of price points, so that way somebody who wants to support art and be an active purchaser can do so with a $5 sticker or card.
So it sounds like your price points go from stickers all the way up to your pyrography pieces — are the pyrography pieces at your highest price point?
Yeah, that’s usually the highest-priced thing that I have, but I don’t usually bring my big pyrography pieces with me to day-long events, just because wear and tear on inventory can add up pretty quickly.
And that is something that can be problematic about setting up a whole shop and then tearing it down and moving everything. Wear and tear does happen on things which means that with prints, usually at least once a year I’ll go through and re-bag everything. The print itself is fine and the card stock behind it is fine, but the actual bag that it’s in just gets so worn and dusty.
After Salmonfest everything was so dirty. I was worried that I was going to lose a lot of inventory after that event, but thankfully it was just stickers that had dust around them and I just re-bagged a lot of my prints. All my canvas prints I had to spray with a hose and wipe down, but they’re very durable which is nice. At my art show at Middle Way somebody spilled salsa on one of my canvas pieces.
How did they manage that?
You know, it happens, it’s part of having art shows at cafes and restaurants, you get a lot of foot traffic. But the canvas is so durable that you just suds it down and things come right off.
So that is one of the costs, I guess, of having so many events where you’re lugging things around, setting it up, tearing it down, taking it back and putting it away.
So how do all the different ways and places you earn money break down percentage-wise?
Pop-up shops, bazaars, anytime I have a booth table event is about 60% of where most of my sales come from. Art shows comprise about 10%. Online sales less than 5% at this point. Galleries, wholesale, that kind of thing usually 20%. And the other 5% is miscellaneous sales like commissions.
One thing that I noticed with your work, compared to a lot of other artists, is that you always have your logo on everything. So how important is branding to you and how intentional is that?
So the logo that I have kind of started from pyrography. I didn’t want to have to write my name out on the pyrography because it sounded like a pain in the ass. I wanted something pretty simple that I could put on there.
That symbol is actually something that I did when I was in the fourth grade, I think. When I was a kid I would always just be doodling on things and that was one thing that I came up with. And then when I was trying to come up with a simple pyrography stamp, logo, something that I could easily put on there, it was like, I know exactly what I’m going to put on there.
It is nice to have something that’s recognizable. I do want to have that name and brand recognition that goes beyond just the actual art because I think it helps when people see your art around and know what symbol to look for, because there are a lot of really amazing artists in Alaska that are doing bright, whimsical, animalesque kinds of things.
And so I always do want to set myself apart, not only with my art, but also with my brand. Which is weird because my brand is me. I am my brand and it is so personal that it almost feels counterintuitive to talk about my art as a brand. But at the same time, that’s the business end of things, where I have to take something that’s deeply personal to me and turn it into a business. And to do that, there are certain techniques and tools that businesses use that I also try to implement, like a logo or a brand.
When it comes to the distilleries, breweries, restaurants and all the places where you show your art, what percentage of those pieces do you sell, generally?
Well, it depends on the month and the place. December is the best time to show artwork, followed by summertime. If it’s a show in December, I would say that I sell usually between 30 to 50% of what’s on the walls, which to me is really good. That’s a really great art show. And if it’s during the summer, I would say closer to 30%.
But doing art shows isn’t necessarily all about the sales that come with it, it’s also about putting my artwork out there and getting exposure. Because it leads to other opportunities — maybe it opens up a wholesale account, maybe it starts a consignment with an art gallery, maybe it turns into a commissioned piece.
So it’s not necessarily just about how many pieces are coming off the walls. It’s also exposure in the sense that people see it up on the walls and then they’re like, Oh, I really like that but I don’t want to spend $150 on a 16×20 canvas piece, but I could spend $35 on an 8×10 print of it. And so then the next time they see me, wherever I’m at, if I have the smaller things they’ll get really excited and say, I saw it at this place but I wasn’t ready to buy it then, so now I can buy it here.
What does your creative process look like?
It depends on what I’m making. I don’t necessarily have an intention. Sometimes I sit down and just start drawing and things happen. As I build whatever it is, I have a better idea and I let the images kind of happen. I don’t want to say it “makes itself” because I’m making it, but sometimes I just let it flow.
Sometimes I’ll have something very intentional that I want to make that I’ll sketch out and have several different rough drafts of. Then I draw it with the ink first and then I’ll watercolor it. And I go back over the ink lines with more ink to make them pop again and then I’ll do gel pen detail on top of that.
If it’s pyrography I almost always sketch it out because when I’m working in a bigger scale, I really have to be more intentional with what I’m making because it’s a big piece of wood and it’s really unfortunate to do something that I don’t like.
So for that, I will draw it out and then I use a wood burning tool to draw light lines on it first, to get kind of a groove going, and then I’ll go through those lines again to make them really dark and intense. I’ll paint it from there and the dark, intense lines that are carved into the wood essentially create a dam for the watercolor — that way it doesn’t spread out.
I like using poplar and birch wood for the pyrography pieces because it’s the right hardness, I guess, to be able to make thick, dark lines. But also they’re not too porous where the wood grain will just soak it up.
I try to use whatever is on the wood to perhaps inspire what’s going to go on it. I really like doing mountain scenes on wood and I really like having part of the wood not be covered in paint because I am very intentional about using wood that is beautiful and I want that quality of the wood to come through in the piece as well, to be part of the artwork.
After I paint it, I’ll try to clean out the lines a little bit, so that way the wood burn lines pop again. And then I’ll do gel pen detail and cover it with the varnish.
And do you do all this continually, start to finish? Or do you have breaks, do you walk away from pieces?
Oh, yeah. Pyrography is—I don’t know if I’ve ever sat down and done a piece in a whole day. It’s a little bit more involved. My wood burning tools sometime limit that, too, because they’ll lose heat or my wrist will start to cramp.
So usually I’ll do a couple of pieces at a time where I’m kind of going in between the different steps — maybe one I’m just starting and one I’m doing the dark lines. And then I’ll paint them all at the same time, do the gel pen detail at the same time and put the finish on all at the same time.
With watercolor and ink it just depends on what I’m working on. I’ll usually work on a piece over a week. Or I’ll just be so excited about something that I’ll finish it in a full day. But I typically don’t have all day for that, I usually have to tend to business things too.
If I’m not teaching, I’ll try to wake up and do emails, orders, errands in the first part of the day, and then in the second half of the day get more into the creative process. I work better creatively, I think, in the afternoon and the evening anyway. So it flows pretty nicely.
But it just depends. I like having art shows or events to help motivate me creatively, where there’s a little bit of pressure towards the end where I’m just like, Oh my gosh, I have one more thing that I really just want to get onto wood or onto paper and finish for an event and share it with the world! And so I’ll kind of crunch myself and get it done. It feels really good and satisfying.
Nice. Since you’re also an elementary school teacher, how do you manage your time? With teaching plus all the work that you produce, all the fairs you go to?
It actually works out pretty well between the two schedules because there is that lull between January and April. The end of summer is a very busy time of year because school is starting up and it’s harder to balance once I go back. I mean, my business has picked up significantly for me where it’s become a much bigger job than it was. And I’m readjusting to having a schedule. Setting an alarm clock is really hard. [Laughs]
But making the actual artwork doesn’t feel like work. The actual production of the art works really seamlessly with having, I guess, a day job. Because it’s something that I do to relax from that day job.
The business end is fun because it’s a really different approach from the art process. The way my brain has to approach the business is so different from the way that my brain approaches actually making art and I like having that dichotomy and I like making my brain think in two very different realms. But they go together so well and they’re so important to each other. If you just make art but you don’t have a knack for business, then you’re never going to share your art with people and vice-versa. If you have a knack for business but you don’t really make any art, then you’re not going to be producing items to sell or for people to enjoy.
Does having the day job with doing your art on the side help take the pressure off financially or creatively?
There’re a lot of really positive things to teaching and I really, truly love it. And just as the business and art end are so different, so is teaching.
There are also benefits that come with teaching. I have summers off, which is one of the busier times, and I have that time to actually focus on my artwork. The festivals and fairs that are out of town are all during the summertime, so it’s not like that interferes with teaching.
Something to consider is, you know, you don’t get any sick time with art. There was a time where I was sick and it was really hard to make that choice and hard to show up. But with teaching, I mean, you get sick days, you get vacation days. But as a business owner, while there is that flexibility, there’s also not. You have to be there, which can be challenging. My husband is also a teacher so he helps me as much as I need in the summertime and wintertime too.
Yeah, essentially. Whether he wants to or not. [Laughter]
It is nice having another job where it takes a little bit of the pressure off, of I have to do this, I have to make something. In some ways it’s nice creatively, to be able to do it because I want to, not because I have to. And that’s kind of how I’ve always approached it. Doing art is my livelihood but I also have another job. Financially I could do art full time right now, but I don’t know if I want to. A fear of mine would be that the pressure would somehow change it, would make it less enjoyable. But I love the pressure too, and work really well with that pressure, creatively.
Alaska Yeti 2019. I want to be friends with this monster. This is a watercolor and ink piece. I like to create monsters that exude openness and kindness. I imagine that this guy lives somewhere in a mountain range in Alaska. —Hailey Morgan
Are there any final thoughts or advice that you have?
Say yes when you can, say no when you have to. Have fun with it. It’s art, you should be having fun.
Interview edited for length, content and clarity. Artist’s work (images, audio and/or video) courtesy of the artist unless otherwise noted. All other photographs by Kim Olson.
- Alaska State Fair
- Anchorage Brewing Company
- Anchorage Distillery
- Arts & Crafts Emporium – Dena’ina Convention Center
- Dos Manos Gallery
- Double Shovel Cider Co.
- Little Fish Workshop
- Middle Way Cafe
- Midnight Sun Brewing Co.
- Side Street Espresso
- Slack Tide Art Gallery
- Spenard Farmer’s Market
- iPad* – altering drawings for stickers and cards
- Razertip – pyrography tool
- Sakura Gelly Roll Pens* – archival-quality ink
- Sakura Pigma Micron Pens* – permanent ink
- Square – receive payments
- Wix Website*
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