The Making of a Custom Puzzle: Original Art + Collaboration

In the spring of 2007, I started an outline for a collection of writings that deserved special treatments for front and back cover illustrations. I realized that a puzzle could be a third and intrinsic part of the project. The puzzle, artwork and book would take the artistic expression to a new level. The meaning of image and surface would be just one layer and leitmotifs could emerge subtly through silhouettes, dropouts and other Stave goodies.

This blog entry shares a little bit of the process I went through to commission original art and then work with a team that consisted of me, Cheryl Johnson an illustrator who is also a PuzzleNut, the Chief Tormentor himself, and one of his best cutters, Jennifer, a PuzzleNut that many of us know from her ladybug icon and appreciate for Forum postings. Other Stave staffers, Susan and Tammy, also helped ensure a quality product would result.

Total costs of the 250 piece, double-sided puzzle -- which included the Stave work, artist commission, misc. additional expenses -- inched north of $3,000. The first time I worked with Stave on a commissioned piece it cost $125. The cost will depend on several variables: number of pieces in the puzzle; the amount of custom work; the price of the commissioned art; cost of imagery/materials you may need to provide; how many puzzles of the design you’d like created etc.; and whether or not you throw in a visit to Stave to discuss, in person, the cutting of the puzzle and other aspects of the project.

If you have a hard time finding an artist you like, Stave might be able to help you. I wanted an illustrator. I struck up a conversation with Cheryl through www.StavePuzzleNuts.com. After reviewing her portfolio and talking about it, I knew I had found the right person. Although her work focuses a lot on extra terrestial themes (which my custom puzzle does not) her style, palette, mischief/whimsy was right for me.

Cheryl and I embarked on a four week collaboration in November, which ended in a visit to Stave and a girl's night out on one of the coldest nights of the year in that happenin' of all happenin' places: Norwich, Vermont, Stave’s hometown.

Sarcasm aside, there is an exceptional independent bookstore a stone's throw from the Norwich Inn, which is less than a five minute drive from Stave. The night we braved the cold the atmosphere was quintessential Vermont, with snow covering everything like gingerbread icing! Luminaries lighted the way to the bookstore and a few eccentrics (in good cheer) milled about on the street. We stopped in a little boutique of quirky women's clothing and home decor. The proprietor said she was 65. She looked at most 45. I loved her orange cool-aid hair, pierced nose, fishnet stockings and rag-cut inspired, layered dresses. She put the "q" "u" on quirky for the night and her charm put us in a good mood.

Before the trip, Cheryl and I met daily by phone and exchanged digital files during the iteration phase. At one time in my career, I directed art for publications. Luckily, I remembered how to convey what I wanted with a few sketches. I could also anticipate Cheryl's needs. You shouldn't assume that an artist is a telepath. You've got to know what you want and how to articulate it in a way that makes sense to someone who wants to do their best for you. When you do this, you have a win-win situation. It's a partnership. You have to listen to the creative people and catch yourself making assumptions about what they understand you want. Be open to their suggestions. They are likely to make your vision better.

Also, when you agree on a price upfront, realize that it might cost more if you ask for many iterations as the process is underway. Typically, ideas need fine tuning as they are manifested. The artist should be compensated in some way if the project takes longer than expected. Yet, you should get what you want and be satisfied. Negotiate how to handle before work begins.

After a lot of laughs and a few tears, Cheryl created two original illustrations which became the front and back of the puzzle. We consulted with Stave along the way to ensure that the illustration’s dimensions and the imagery were sized to allow cutting of the bells and whistles I envisioned.

There where nearly 30 silhouette pieces, some of which were new to Stave because they were specific shapes I sent. We added sculpted cuts; inserted names per an idea Jennifer had and then threw in several additional touches she suggested.

A few images from the artwork and puzzle are posted in a photo album here. One of the images is a portion of Cheryl’s rendering of a tapestry montage of upholstery swatches I created for her to reference. The upholstery reminds me of medieval tapestries in some of my favorite museums and also of furniture from my youth. I’m showing only a few bits of the puzzle for it’s a kind of meditation that I wish to keep private for now. Not much to go on, I know. But that's one of the prerogatives of creating such a highly custom puzzle. It's all yours. You won't see it in a catalog or online. Stave respects the privacy of its clients and will not display the image anywhere if you so desire.