Promotion and Rolling With The Punches

This weekend I did a Saturday first-time show. My sales covered all of my expenses and fees, but were otherwise uninspiring.

My initial thoughts? "First-time show... The economy... Fort Worth..." etc. But I generally aknowledge that success is sometimes purely a crap-shoot. Mood or whim or location or whatever can contribute to an 'off day'..and I had one.

Imagine my surprise when another vendor and friend at the same exact show commented that it had been her single most successful show ever!

Who knows why, but two things stood out for me:

1) She had fresh work, just produced/finished that week and;

2) She'd invited tons of folks she knew, had sold to before, were family and friends, etc.

Maybe just excitement, fresh work and promotion did it. Or maybe not...but it doesn't hurt!

L~

Special Event Insurance for Art Shows

This may be considered off-topic for a blog that guides new artists and crafters about showing and other business topics, but having gone through what is retrospectively an arduous process, I'm going to at least speak to the issues. Just remember where you saw this and come back when the info is needed.

Recently I agreed to investigate Special Event insurance for an art event I'm helping to put on; an indoor art show. The venue required this as part of our doing the event there.

The first questions we had to find out, and submit to the various insurance carriers were these:

• What is the date and location of the event?
• How many people will attend?
• What is the required amount of coverage?
• Will you serve alcohol and require that to be covered by liability insurance?

Armed with this info, and a few other facts; the name of the event, etc, I proceeded to get quotes. I went to both to a local insurer and to several internet companies. I got quotes ranging from $275 for a one-day festival to $2000!

My experience is that it is critical to have the right date range and attendee amounts. Both significantly affect the price.

I went to the internet insurer first and accepted a Thursday-Sunday date range, despite our event being only on a Saturday, thinking "how much can it matter". I also put in 2000-3000 attendees, again thinking "how much can this matter"?

The quote came back as around $900 if we served alcohol and about $500 if we didn't; way too much for our meager budget.

I then went back to the same insurer and limited the coverage to just the day of the show and entered in 1000 attendees (since this was closer to what we expected anyway). The quote dropped from $500-ish to $265-ish; still more than expected but closer to what we could afford.

I went back one more time and put in 800 attendees; our best guesstimate. This made no difference. It appears that Event Insurance applies some kind of minimum liability and that 1000 attendees is the lower limit of this particular carrier.

In the meantime, my brick-and-mortar insurer came back with a quote of about $500.for the $1M, etc, etc. I sent her the name of the internet insurer and asked about the delta between her quote and theirs. Her response?

Internet companies have lower fees, as one might expect BUT she also advised that one should make sure to use an insurance company that is rated A- or better. Apparently this rating tells the consumer how capable an entity is of actually paying a claim, should one arise....knock on wood.

Good luck!

How many times have you gone into an artist/crafter's booth at a festival or show, signed their mailing list, only to hear nothing ever again from them?



As artists/crafters we're guilty of collecting people's information but then doing nothing with that information. This blog will expand on some ideas about how to get the most bang out of your mailing list:

• I recommend that you collect only what you'll use. If you only send out e-mails, don't collect addresses, etc. Make it simple and easy for your 'fans' to sign up for your mailing list.


• Offer an incentive to sign up on your list; a drawing at the end of the show; a 10% off coupon that can be used to purchase your work, etc.


• Once you have the list, enter it into your computer and back it up so you can't lose it. Some folks keep lists of buyers separate from 'lookers'. Some separate folks interested in classes from art buyers. Collect and organize it the way you'll use it.


• If your mailing list grows over time, it can get out of date. I also find that folks' handwriting sometimes leads to my entering the wrong e-mail address. How do I get around that? First of all, at the end of each day of a show, I enter my e-mail addresses and send out an immediate message thanking them for signing up on my list AND I offer them a 10% off coupon to be used in purchasing my work in the future. What I'm really doing is checking whether I've got the correct address. Any bounce-backs from that days' addresses allows me to look at the list more closely and correct the addresses. If I can't correct them, I knock them off of the list...so I don't get future 'bounce-backs'. I'm also trying to incentivize them to return to my booth the next day and purchase that piece that's been nagging at them since they left the venue. Sometimes it works.


• I use my mailing list only for a monthly newsletter and special show announcements. For the latter, if you keep a separate list of people who have purchased items from you, send them a 10% or 20%-off coupon for one item in your booth. I have a potter acquaintance that does that and not only does he have great attendance at his shows, but these folks buy around 50% of the time!


• When you send out things to your e-mail list, blind copy everyone so that everyone's privacy is maintained AND so no one can steal your hard-earned e-mail list. If another artist or crafter can see those names, what is to prevent them from placing those names on their own list?


• Always offer some way for people to unsubscribe. I put a statement in small print saying, basically, "reply with 'unsubscribe' in the subject line to be removed from my list".

Good luck! And next time I sign up on your list, I hope to hear from you!

L~

A common question for folks new to showing/selling at Festivals and Fairs is "what is important".

Ask four artists, you'll get five answers. Smile. This is what is important to me:

First of all, you want your buyer to be comfortable, spend as much time in your booth and completeliy understand your product and your pricing. These things are important to that end:

• Make sure your display and your booth is clean and organized. Ever wander into a too-cluttered store and get overwhelmed or confused? When your customer is overwhelmed and confused they don't buy; they leave. Keep it uber-simple!


• Put prices on everything! I'll never forget once at Cottonwood, a new sculptor displayed 6-10 bronze sculptures, one of which I liked. A lot. However there were no prices anywhere. And I wasn't about to ask, lest they be out of my price range. So I walked on to the next booth. Price everything.


• Broad array of sizes, colors, price points. It is important to have a broad selection of products, colors and, most importantly, price points. My products range from $22 to $600....there's something for everyone who wants my work. The budget minded folks can't spend big bucks. The art-snobs think they have to. Please them both!


• Your signage should be consistent in color, background, ‘feel’ and theme. Remember "simple"? Keep it simple, and professional! No Cacophony!


• Have change and, preferably, take credit cards. This conveys professionalism and makes it easy for your customer to spend plenty at your booth.


• Greet everyone that comes in your booth and then get out of the way!

Finally, besides your product, what do you need in your booth? Here’s what I take:

My tent (if needed), setup tools and weights.

Pro-Panels and/or Grid Wall as my background – eliminates distracting background and lends to a contiguous theme in my booth. Simple is good.

2’ x 4’ folding plastic tables (2) with matching tablecloths that go to the floor…enabling me to store stuff underneath. A chair or stool to sit on.

My signage…the Kessler Craftsman sign, some product photos, a sign indicating that I take MasterCard and Visa, etc.

Lighting. I take either my stained glass lamps as my product if that’s ALL I’m selling OR I take goose-neck clip-on lights that I got from Wal-Mart for about $15 each. Of late, I’ve started using Track lighting mounted on a bar over my Pro-Panel setup. See my booth someday… Lighting is important…if they can’t see it well, they won’t buy it!

My display stuff. I use risers, bust and ring displays for jewelry, trays and stands for other items, small gridwall, etc. Display things cleanly and attractively!

Packaging stuff. I have small shopping bags, t-shirt bags, earring and candle-holder boxes and then tissue paper. This makes it easy for gift-giving and conveys and extra sense of professionalism.

A money box (some folks use aprons) with plenty of $1s, a credit card machine and credit card slips, a tiny calculator, receipt book and a filled out tax table with tax already filled in for my most popular items.

Sign-up sheets for mailing list, classes, etc.

Business cards and show postcards for any future shows.

Electrical cords (long and the thickest, most heaviest gauge you can afford…lest you throw breakers), power strips, duct tape and extra light bulbs.

My “emergency kit”. It has: Pens, a Sharpie, matches, razor blades/X-acto knife & scissors, screwdriver and pliers, parts for my booth pro-panels and grid-wall, T-pins, thumbtacks and velcro strips, zip ties and a couple of spring clamps , extra business cards, adhesive price labels, duct tape and scotch tape, a pad of paper, some clean shop towels, aspirin and Tums, sunscreen, lip balm, an extra t-shirt and bandanna, trash bags, etc. I also bring a “10% off” and a “20% off” sign just in case! I also bring extra jewelry findings, jewelry pliers, etc for jewelry adjustments/modifications.

I bring bottled water and, for longer shows, food. Nuts, carrots, apples etc…’munchie food’ in a tiny ice chest.

Sometimes I bring: A source for music…a small portable CD/IPOD player and speakers; candles for my candleholders; I sometimes do work in my booth…items I need for that; a laptop or sketch pad for really slow times.

Most of all, bring your sense of humor and desire to have fun!

L~

Promoting Yourself and Your Work

In this new year, I'm getting lots of new show announcements and contemplating my artistic and show goals for 2009.

As you contemplate doing this (and be active in this.. don't just 'drift'...), decide, in a volitional manner, what you want to become.

Do you want to keep things small and informal? Do you want to do art festivals and craft fairs? Do you want to sell in gift shops? Do you want to show/sell in a formal art gallery. Do you want to sell supplies, materials or teach your craft.

Pick one or two and focus on doing those well..and then you can expand as you 'master' the initial ones Once you have a sense of what you want to be, consider these tips:

• Focus on promoting to that audience as a priority


• Create the work that appeals to that audience
  

Have a logo and a 'package' that is professionally designed and printed. Yes, I'm sure your brother-in-law did his own logo in Word, but it looks like it! Get some serious professional help if you want a serious, professional image. And make sure all of your materials are coherent, work well together and promote the same concept. Large companies don't have branding guidelines and design guides for the fun of it!

Your promotional package should include, at a minimum:

• Business cards that can double as price labels, earring cards, etc.


• A sign with your business name, logo and URL of your website or Etsy shop


• An electronic logo that may be used with one-off letterhead, sent to festivals, etc.


• Website, Etsy page, Blog or, at least, a Flickr page with pictures of your work.
  

Your package can also include:

• Website with schedule of events, shopping cart, etc.


• Postcards (with future shows, class schedule, contact info, etc)


• Booth and Gallery signage


• Gallery Support Signage - name and logo, 'about the artist', bio, etc.


• Biography and/or Artist's Vita


• Product tags with info, 'the story', your logo, price 'block', etc.

Also, set goal to promote your work more. Whether that means applying for new shows and new groups at a frequency that's comfortable or approaching a new venue for your work... Set a goal and do it!

Keep track of what promotional activities create sales and do those activities more. Forget what is fun or easy. Do what works!

Think outside of the box when it comes to promotion. I know of a painter who issued a press release everytime she completed a new painting. Overdoing it? Maybe. Grandiose? Maybe. But she makes a living selling acrylic paintings on E-Bay!

What will get your work in front of buyers?

Now. Go start promoting what you do!

L~

Taking Photographs of Your Work or How Important Can Good Pictures of Buttons Be?

You've heard folks speak to the importance of high-quality photographs. And as a former semi-commercial tabletop photography, I've got an advantage. I'd like to share some tips that will get you photographs that will help you promote and sell your work:



1. Invest in, or borrow a good digital camera. "Good" means at least 5 mega-pixels and some ability to control the camera (i.e. not full-automatic). Don't think that you have to spend thousands of dollars; get a decent camera and know how to use it!






What controls do you need? At least these:

• adjustable white balance..for daylight, flourescent and indoor/incandescent lighting



• Adjustable, manual depth of field...so everything is in focus



• Zoom, so that you can crop your picture in the camera.



• A tripod mount. See below.

2. Learn how to use your camera and any lighting you use. See above. Knowledge and a barely adequate camera beats out a fabulous camera that you can't use.

Wanna buy some buttons?

3. Get a demo version or other inexpensive version of photo-editing software and learn to use just these 5 tools:

• Brighten/darken



• Contrast



• Sharpen



• Saturation/hue



• Color cast/color temperature

All of the other 'tools' in Photoshop may be nice to have, but only if you're an ad exec, a retoucher or making your living at photography as art.

4. Keep a small area permanently set up to take pictures. As one who produces tons of pieces every so often, I'm guilty of not taking pics of my work and then selling it before I can take photos.

Recently I set up a small table with two Home Depot lights and matching bulbs in my 'junk room'. It's perpetually ready for a shoot; I put a small piece on the background of the week (usually an interesting board and rock combination...see the picture to the left) and shoot a couple of pictures so I can edit one good one. This morning I took 2 pictures of about 30 small glass pieces. If I would have had to set up the camera and lights, it wouldn't have happened.

My friend and artist Rachel Hoehn keeps a roll of 4-foot backdrop paper on a dowel in her studio..so she can immediately pull down the paper, take a couple of quick shots and then roll things back up.

5. Use a tripod or other stable way to hold the camera still. This will not only reduce blur, but you'll be more methodical about your images (note we segued from 'pictures'..that one 'takes' to "images' that one 'makes').

6. Mix it up - vary your backgrounds, have alternative people wear your stuff, etc. I change out my backgrounds (different wood, rocks, props) every couple of weeks so that my work doesn't get stale.

7. If there is one thing that the digital age has brought us, it's uber-cheap 'film'. Take lots of pictures. Take the best one and then crop it several different ways and save 'large' and 'small' versions of it.

8. My permanent small setup uses a cheap table, two cheap Home Depot lights, sheets of white typing paper to diffuse the harsh glare of the lights, a $75 tripod and my background props. The Home Depot lights were around $10 each. Soften that hard lighting with white cloth or white paper. Get matching daylight bulbs and always replace both if you have to change one...you'll get more consistent color that way.

9. Consider doing a 'photo party'. Get 3-5 crafty friends together and share knowledge, equipment and get pictures to boot!

10. Use your pictures to tell a story. In the world of visual art, make sure your pictures represent what you do!

11. Edit mercilessly and seek out others' opinions on which images work. Just becasue your daughter looks extra-cute modeling that fabulous polymer necklace, be objective about the necklace and decide if that image captures the essence of your work? Can your future buyer see the details? Are the colors accurate on the computer screen? If not, select another image!

12. The 'art' isn't the photo you're taking. Your handmade product/art is! Strive for clean, well-lit photos that show off what you do.

So go set up that mini studio, learn how to use that old digital, and take pictures that you can be proud of!

12 Suggestions for Jurying for a Show - What Do I Do?

For new artists/crafters, the thought of jurying for a show can be intimidating.

I'll never forget my first....mercifully easy, in its' own way. I'd been doing glass, furniture and picture frames and one of the principals in the Oak Cliff Artisans happened to be taking a walk by my house with a neighbor and they say me working on some of my Mission picture frames and stopped in for a look.

This gal was apparently impressed and so invited me to the next OCA meeting and asked me to bring some pictures of my work...glass and wood.

I dutifully showed up with a CD ROM of 10-20 pictures thinking we'd all have 'show and tell'. I was the only one whose work we looked at. Later I learned that they'd voted me 'in' to OCA and that's how I got into my first art show.

Most of us don't have it so easy. We get an application for a show and see that "submit pictures for the jury" and get nervous...

Here's some tips to prepare..and now is the time to start thinking about this, folks!

• 1) Submit no more than the required pictures unless you truly have a compelling reason to do so.

• 2) Take, or have someone take really good pictures! Have someone take really good pictures! Am I clear? Nothing is worse than getting an application with fuzzy, bad images. As a many-times juror it makes me wonder if the work is as sloppy as the pictures. Better to submit 3 good pictures than 5 mediocre ones! Get good pictures!

• 3) Submit in a small enough file size (if electronic) to get through their firewall, but make them big enough so the details of your work shows through. If that means submitting a CD ROM with 3MB pictures, so be it!

• 4) Some shows (sigh!) still ask for slides... You can go to BWC on Maple Avenue and have them make slides from .jpgs. You can even e-mail the .jpg file and then just pick up the slides when they're ready. Cost is around $5 - $7 per slide... FYI, you usually get your slides back if you submit with a SASE.

• 5) Be prepared to submit a good picture of your booth display. Artfest and many other shows use this as a good way to cull out the 'also rans'. You might do stunning work, but if your display consists of a couple of 2x4 easels and a card table, they don't want you. If you don't have such a picture, set up your entire display in your living room or your driveway and take photos. See #2. Take good pictures!

• 6) Label all of your .jpg files with your name or artist moniker. If they mix them up with something else, you'll benefit when they can identify which pics are yours.

• 7) Fill out the application completely and submit with a letter on letterhead. You want to specify the show you're applying for, you want to express excitement about being in their show and you want to reference that you 'get' what their show is all about. Recently I applied for a show in which it was clear as a bell they'd been burned by 'resellers' or folks that didn't make most of their own jewelry components. My letter and my application made clear what parts I did and what parts I purchased. I "got" that they want 80% handmade components!

• 8) When you're filling out an application, think about the jury's perspective and try to be strategic about getting in. I'll give you an example. My biggest seller is my glass pendants. That means "jewelry". Shows are overrun by Jewelry folks and painters/photographers. So when I jury, I say that no more than 1/3 of my booth is jewelry..and emphasize my glass lamps and sconces and, sometimes, even my Mission furniture (even though I rarely bring more than a few pieces to a show). This gets the juror away from thinking "oh great... Another jeweler"...and raises your chances of getting in.

• 9) If there is any way to call or e-mail someone with the show, do so. Be friendly, funny, whatever makes them remember you and endear you to them. IF they have any influence in the process, it'll help you in the long run. If not, they still may come by your booth and meet you..and maybe buy something! I've had that happen!

• 10) Get your materials in on time...always. That said, if you miss a deadline, call them or e-mail them and see if the deadline has/can be extended. I've been the lucky beneficiary of this two times last year... Be nice, kow-tow and accept "no" graciously if that's the answer.

• 11) Try not to take this whole thing personally...hard but true. You may never know why they didn't accept you into the show. Maybe 900 folks applied for the 125-booth show and they picked nothing but the creme of the crop. Maybe they didn't think your work would 'fit' in the scheme of the show. Maybe they had too many folks who produce baby items or jewelry or glass and wanted to balance it with a broader selection of work. Go the the show and see if you can speculate what might have gotten you in.

• 12) Finally, have fun and don't sweat the small stuff!

L~