| 've always wondered what it would be like to be an | | | | even offering gift type products such as note cards |
| artist and show and sell your work around the | | | | or calendars with your art reproduced on it (if the |
| country at weekend art shows. Here are some tips | | | | show allows it). |
| that can increase your chances of succeeding. | | | | While it's true that some will never purchase anything |
| 1. Visit the Art Shows First - | | | | of significance, others may use this as a stepping |
| You may not always have the luxury of visiting each | | | | stone to begin their collection of your work to |
| and every art show before you apply for | | | | whatever extent they can afford. |
| acceptance. After all, if you visit before applying, | | | | Your job after that purchase is to keep these lower |
| you'll have to wait another year to participate (if you | | | | end purchasers (as well as all of your purchasers) |
| are accepted) and most of us are not that patient. | | | | informed about you and your art through mail outs, |
| However, when you can visit the show first and talk | | | | newsletter, website, newspaper or magazine articles, |
| to participating artists, you will get a feel for whether | | | | or however you can to let them know you |
| or not this is a show in which you wish to participate. | | | | appreciate their business and look forward to seeing |
| Be up front with the artists that you talk with and | | | | them someday own some of your better art pieces. |
| ask a few questions. Most will be happy to answer | | | | They are more apt to desire to own more of your |
| your questions if they sense your honesty and | | | | art when you show your appreciation for their |
| sincerity and you don't distract them from those who | | | | purchase and they know more about you and your |
| visit their booth. After all, they are there to show | | | | progress as an artist. |
| and sell their work, not to act as your show | | | | 4. Have a Clean and Attractive Display Booth - |
| researcher. | | | | There are a few generally accepted artist booth |
| With their permission, ask how long they have been | | | | set-ups that are used at most quality shows. The |
| doing these types of shows? Is this considered a | | | | standard size booth is often a 10x10, so many |
| good show? Was it hard to get in? Is the fee | | | | canopies, or tents, are made to this size. EZ Up, |
| reasonable? How is the attendance? Are the show | | | | Flourish, ShowOff, and a few others seem to be the |
| hours long enough, too long, or just right? Was the | | | | most popular. |
| set-up and take down schedule suitable? What do | | | | As your inventory and sales increase, you can always |
| you like about this particular show? What do you not | | | | add on for a double booth space, when available. |
| like about it? Do you plan to return next year? | | | | Though some brands of tents come in a myriad of |
| There are a number of other questions that could be | | | | colors, a white top is recommended. |
| asked, but please respect the artist's time. | | | | Some shows won't accept anything else. Choose the |
| Some events that bill themselves as art shows or | | | | one that suits your budget and make sure it has |
| even arts and craft shows end up with a lot of | | | | adequate sidewalls and leg weights in the event of |
| questionable "art" booths that are not really art at all. | | | | inclimate weather. If you show long enough, you will |
| If the "art" show has more than it's share of artists | | | | experience inclimate weather. |
| who make foam rubber alligators on a coat hanger or | | | | The actual racks that you hang your work on or use |
| rubber band gun crafters, it's probably not that high | | | | as a background might be metal grid type panels |
| quality of art show. That is not to say that there is | | | | such as those made by Graphic Display Systems, or |
| not a place for these products. | | | | carpeted type panels such as those made by Pro |
| There are many large festivals that attract huge | | | | Panels, or mesh netting made by Flourish. |
| crowds that have all kinds of vendors from artists | | | | Get what you can afford and upgrade as sales allow. |
| and crafters to cosmetic salespeople to | | | | An indoor/outdoor carpet or other ground covering is |
| sausage-on-a-stick vendors. Don't knock these | | | | a nice added touch if it enhances your booth and |
| venues, just be aware that you will encounter a lot | | | | does not distract from your art. |
| of folks at these events who may have little or no | | | | Have a focal point in your booth, a "whopper," a |
| interest in your art. The good thing is that you will | | | | signature piece, or something that stops the show |
| encounter a lot of folks and sometimes that's what it | | | | attendees in their tracks so that they will want to |
| takes to find a few gems who will make your | | | | come in and see what your art is all about. |
| efforts worthwhile. I have experienced successes at | | | | I hang a matted and framed 24x36 limited edition of |
| both types of venues and I have come up short on | | | | my signature piece above a custom made credenza |
| occasion, as well. | | | | (that is on wheels, but the wheels are camouflaged) |
| On the other hand, a juried event will elevate the | | | | right in the middle of the back wall of my booth. |
| level of quality work that is shown, which should | | | | This popular image is what I am most identified with |
| attract an audience that has a greater appreciation | | | | as it has become my best selling print. Since I have |
| for art. It may reduce the number of attendees, but | | | | started doing this, I have seldom failed to sell one of |
| those who do attend may be a more "qualified" | | | | these framed prints. The credenza also tastefully |
| audience. By qualified, I mean that they not only | | | | displays very small pieces such as note cards, hand |
| have a greater appreciation for art, but hopefully the | | | | painted tiles, and a guestbook for addresses and e- |
| means to purchase it if they like it. | | | | mail addresses (my favorite way to contact folks). |
| Once you have determined that you want to | | | | Inside the drawers of the credenza are my change |
| participate in a particular show or festival, here is | | | | (keep adequate change), sales tickets, credit card |
| what I think is vital to your success both as an artist | | | | forms (in my opinion you must accept credit cards |
| and as a businessperson. | | | | for higher end items), tape, string, insect repellant, |
| 2. Have a Consistent Body of Work - | | | | business cards and brochures, and extra hang tags |
| Even though you may be good at every artwork | | | | for my framed pieces. Underneath are unframed |
| you ever produce, your audience of potential | | | | prints ready to replenish my print rack when one is |
| purchasers/collectors will likely identify you with a | | | | sold. |
| particular subject, a color, a style, a medium, a | | | | All of my work that is hanging is framed (with the |
| method of presentation, etc. Show a lot of whatever | | | | exception of an occasional gallery wrap canvas) in |
| you enjoy doing the most and a lot of what seems | | | | similar style frames with brass nameplates to |
| to be connecting with folks the most. | | | | enhance the value and identify the title of that piece. |
| A bunch of random paintings of various subject | | | | All unframed prints are sleeved in clear bags that |
| matter with no distinctive style or color pallet in | | | | have an adhesive flap to seal them and placed in a |
| cheap mis-matched frames will not likely hold a | | | | browse rack. |
| potential buyer's attention for long, even if the | | | | Have a tool box to contain such items as pliers, |
| paintings are good. A hodge-podge of sculptures that | | | | hammer, nylon connectors, wire, duct tape, clamps, |
| look like they were made by ten different sculptors | | | | small broom and other miscellaneous items that you |
| will not likely enhance your reputation. This | | | | may need over the course of the show. |
| randomness does not help to identify what you are | | | | Once you have shown a few times, you will get an |
| all about. | | | | idea of what items are useful. Keep this and anything |
| I'm not advocating that you never try anything new | | | | else that might distract from your art out of sight as |
| or experimental, but you must make your art | | | | much as possible. |
| memorable to gain any kind of following. Consistency | | | | 5. Give Your Potential Customers Room - |
| is the key. Look at the work of some of the more | | | | I have noticed that more people will actually come |
| successful artists that you admire. What ties their | | | | inside my booth exhibit and look longer if I stay |
| work together and identifies it as their own? Subject | | | | outside my booth until I sense an interest in my |
| matter or theme, style (the way they paint or | | | | work. I try to be very attentive, but I will only |
| sculpt), choice of colors used, size, framing? Any and | | | | approach a visitor when I sense some kind of |
| all of these characteristics may apply. Don't copy | | | | interest, however slight. |
| their work, but learn from it. | | | | Do not block your entrance by positioning yourself |
| If you are doing work that connects with an | | | | and your staff or friends and family where no one |
| audience, folks will seek you out to buy your art, | | | | can walk in and look around. Even if there are two of |
| even after the show is over. It's happened to me | | | | you and each is sitting at the side near the front of |
| many times. | | | | your booth, there seems to be an invisible barrier |
| 3. Have Varying Price Points - | | | | through which visitors will not pass. |
| Whether you choose to show only originals, or limited | | | | I have seen other ideas of where the artist(s) |
| editions, or a combination is often dictated by the | | | | position themselves to encourage better "booth |
| show guidelines. Sometimes, it is entirely up to you. If | | | | visitation," and in a larger booth than 10x10 I could |
| you have a body of work that connects with | | | | see where sitting over to the side at the back of the |
| viewers, it obviously would be desirable to sell some | | | | booth might work well. |
| of it. | | | | However, in my own personal booth I don't want my |
| If you limit your offerings to large, expensive | | | | face to compete with my art. At this point, I am only |
| (whatever that means to you) original works, your | | | | incidental to the art. |
| potential market will be smaller and you will eliminate | | | | I created the art and I answer any questions and |
| a number of folks who, otherwise, might like to | | | | take the money. Otherwise, I don't want to get in |
| purchase. That may be OK if your work is selling for | | | | the way. Yes, I want the customer to remember |
| the prices you want on a regular basis. | | | | me, but I first want them to see my art. When you |
| However, my experience is that having artworks at | | | | make a sale of any significance, follow up with a |
| several price levels makes it possible for purchasers | | | | handwritten thank you note. |
| collectors to enjoy ownership of some of my art in | | | | Showing and selling your work at outdoor art |
| the "now" until they are ready to move up to more | | | | festivals is hard work often accompanied by some |
| collectable, thus more expensive and profitable, | | | | expensive lessons. However, when you finally make |
| pieces. | | | | that connection with folks who like your work and |
| This might be achieved through offering a number of | | | | are willing to part with their money to own some of |
| sizes of original works, offering print or sculpture | | | | it, the rewards can be great, both financially and |
| editions in two or more sizes, having some limited | | | | artistically. |
| editions and some less expensive open editions, or | | | | |