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TAKING THAT FIRST STEP –
DOING ART SHOWS
By Christy Nicholas
Aka Green Dragon, Artist
www.greendragonartist.com
So, you are an artist.
You have some stuff on consignment at a couple local shops, you have
a website, and perhaps you have even had a private showing at a
friend’s house. But what if
you want to get into that crazy world of Art Shows? Scared?
Of course you are. It’s
a big step – and a complex one.
There are many things to consider first, and many preparations to
make. I’m here to help defray
your anxiety – at least a bit.
I’m not an expert, but I have been doing shows for 3
years now, and have learned a lot by trial.
I’ve also gotten some wonderful help and advice from older,
more experienced artists, as well as from several magazines such as
Sunshine Artist and Where The Shows Are.
It takes a lot of hard work to do art shows –
don’t let anyone ever tell you otherwise. Besides all the preparation and costs
before you do the first show, there is the back-breaking labor of setting
up, tearing down, keeping up with stock demands, advertising, schmoozing,
keeping records, doing taxes – oh, and making art. Almost forgot about that part!
I’ll break this article into three parts. The first part is preparing for the show;
what to buy, what stock to have, etc.
The second part will concentrate on the show itself – setting
up, selling, breaking down. The
third part is the tedious stuff – the record keeping, paperwork,
etc. Each part is, of course,
essential to success. However, you
will not be successful if you don’t enjoy the process!
PART I – PREPARING FOR THE FIRST SHOW
Where to begin? Well, let’s start by figuring out how
you want to display your art, as that will dictate a lot of the rest.
TENT: In order to do art shows, you must have a
tent. Many shows require it to be a
white tent (unless you are going to do renaissance festivals), and the
stronger the better. However, most of
us start out simple, and get an EZup tent, hoping to upgrade to a Flourish
or Craft Hut later. This is fine
– as long as you take certain precautions on your EZup. The reason they are cheap ($200 or less)
is because they are not strong, and can blow away in 15mph winds. But not many artists just starting out
can afford a $700 investment in a Craft Hut, plus the Propanels to go with
it.
If you do buy an EZup, try to get one of the sturdier
models. I purchased an Encore II at
Sam’s Club three years ago for $100, and it included four
zippered/Velcro walls. It’s
done well by me, though the roof is starting to droop a little. I got concrete weights to put on each
leg, and weigh down the tent by attaching everything to the frame. Eventually I will upgrade, but since I
often set up alone, EZup is a useful and practical option for me.
DISPLAY WALLS: If you sell 2D art, such as paintings or
photographs, you will want walls for your tent to hang them on. If you sell 2D art, such as pottery or
jewelry, you will want tables, stands, or other display items. I sell both 2D and 3D, so I have both to
worry about!
I started out with gridwalls, which you can buy at display
stores, and cost around $20 a piece (plus shipping!). Gridwalls are sturdy, but heavy, and
aren’t as professional looking as Propanels… but they
won’t break the bank either, and can weigh down that tent nicely,
especially after hanging framed prints on them. I still have some gridwalls, but I have
lighter aluminum ones with thinner metal grids. For the sides of my tent, I have
graduated to mesh walls, which are a wonderful mid-range option. These are walls made of strong mesh, easy
to hang on your tent (they attach to the frame) and have a stabilization
bar at the bottom. They are easily transported
as they fold in half and roll up.
They are expensive though - $600 for three of them, retail. Check artist groups online, as many
people upgrade to Propanels and sell off their old mesh panels at a
discount. That’s how I got
mine – 2 walls for $100 including shipping.
TABLES: If you have 3D art, or browsing bins for
your 2D art, you may want tables. I
love the plastic durable folding tables you can get at Sam’s or
Costco – they are virtually indestructible, and MUCH lighter than
those wooden monstrosities.
However, you will want matching table cloths for your display
– trust me, it looks so much more professional, with the fabric
coming to the ground and hiding all those storage boxes.
DÉCOR: Yes, décor. An art booth at an art show is competing
with 200 other artists, and you want the patrons to be welcomed into your
booth, and enjoy their stay. Better
yet, remember their stay and come back when they are ready to purchase. If it is memorable (in a good way!) then
you have an advantage. This can be
achieved in a color scheme (my booth is all green and white), a theme (one
lady had everything like a desert bazaar), or just simple and elegant. One lady had her jewelry all displayed on
the necks of glass vases, with black and white stones in all the
vases. One man had his nautical
themed paintings on walls decorated with fake coral and fishing nets.
Be creative in this, but it must look nice, professional, and
not distracting. Try to stay away
from colored ceilings or tent tops – it will distort your work in
something other than white light.
SETUP: Now that you have a tent, display
furniture and a décor, how to set things up? I would suggest having things at several
‘viewpoints’, i.e., something at eye level, something at table
level, and something in between.
This will make the best use of the limited space available. Finding a good solution to this has as
many results as there are artists. I
use collapsible wire mesh boxes (got them at Bed Bath and Beyond) that can
be constructed on site, deconstructed afterwards, and carried in one small
bag in the meantime. They not only
give me a second level on my tables, but offer sheltered cube for displays
that are easily blown down by wind.
Some folks simply use carrying boxes covered in attractive (and
matching!) cloths, while other build shelves for each show. Remember that a display should have
several features – be useful, attractive, easy to set up, and easily
transported. It is even better if it
doubles as a carrying container, so there is no wasted space in your van.
If you have items hanging on the walls, you will want them to
look nice. Similar color and size
frames put together helps, as does a straight line of images across. While some artists are good at making
attractive ‘clumps’ of paintings, it often comes off as just
jumbled together. Use your judgment,
and ask opinions of others – sometimes you are too close to the
project by this time.
INVENTORY: OK, now what do we put IN this wonderful,
lovely looking setup? Well, I have
noticed that putting one spectacular piece out front – I use a beaded
shirt I made – brings people to the tent in droves. What brings them all the way in is
another spectacular piece at the back center of the tent. In between is the affordable stuff, the
items they actually purchase. I
usually have one each of my matted prints, though I bring 3-4 of my best
sellers, and replenish when they sell.
If people are flipping through bins, and see lots of repeats, they
usually stop flipping. If they
realize there is only one of each image, they often want to see each
one. You may want to consider
whether you will frame/unframed on request at the show, and bring equipment
accordingly. My jewelry is an easier
inventory solution – I just bring everything, and put most of it
out. Each piece is unique, so
someone might like this one, but in that color. Oh, I’ve got that right here!
Another inventory piece of advice: Have something at several price
points. You don’t want to only
have items that cost $100. You will
likely never sell anything at many shows.
I have handmade beads that sell for $1 each, gift cards at $3.50,
all the way up to necklaces for $100, $200, and some items at over
$1000. Something for everyone, so
everyone buys something J
PRICING: The eternal question! No one has a true answer to this, but I
have some ideas to pass on.
I’m a tax accountant as well, and the formula SHOULD be as
follows. For anything you sell, take
your costs of making it, your own hourly wage for creating it (times the
number of hours spent on the project) and then add your overhead. Double this for your wholesale price,
double THAT for your retail price.
In real life, this isn’t always easy to figure out.
First, what hourly wage should I choose? That’s up to you. What would you be comfortable making,
doing this for a living? $10? $30?
$50? I find I charge less for
items I do less ‘creating’ on.
Second, what’s overhead?
That’s the costs that aren’t directly related to
creating your pieces of art. It
includes the cost of traveling to shows, the jury and art show fees, the
cost of the tent and tables, your meals while at the show, advertising,
business cards, website fees, etc.
It’s very difficult to figure out, especially when you are
first starting out. After the first
year, you can add up all those expenses, and divide by the total hours you
spent making art – and that is your hourly overhead fee. During the first year, however, you need
to estimate it the same way.
For instance, say you spent $600 on your setup (tent, tables,
cloths, etc.). Then you spent
another $300 on framing prints, matting, making gift cards, and all your
stock. You plan on applying on 4
shows this year, and each one will cost $100 in fees, and $50 in traveling
expenses and meals. You spent $50 on
business cards, and $50 in website fees.
So, your inventory cost is $300, and you kept track of what
item cost what, so you don’t have to ‘apply’ a
percentage. Item A cost $10 and you
spent 10 hours on it (at, say, $20 an hour), Item B cost $50 (and 20 hours
@$20 an hour).
Your overhead is a total of $600+(100+50)*4+50+50 =
$1300. You estimate that you will
spent about 500 hours making the art you currently have in stock, so your
overhead cost per hour is $2.60.
Item A has the following costs: Item B has the following
costs:
Direct Cost $10 $50
Direct Labor 10X$20
= $200 20X$20
= $400
Overhead 10X$2.60
= $26 20X$2.60
= $52
Total Cost $236 $502
Wholesale $472 $1004
Retail $944 $2008
These are guidelines, of course, not set in stone. They reflect absolutes and estimates, not
the real world. You also have to
look at your market, your competition, the economy in your area, and your
cash flow. If someone next door to
you is selling the same item for 30% less, you won’t sell much.
OTHER STUFF: Oh, there are lots of other things to do
to get ready for a show. You will
need many of the following items – get them ahead of time, and save
yourself some worry. This list is
not comprehensive, but it should cover most bases.
Price lists or price tags
Credit card machine/knucklebuster/credit card receipts/MC Visa
signs
Cash box
Receipt book
Business cards
Bags
Calculator
Pens (one will always go dry on you during a show, bring
several)
Dolly
Chair
Flip bins
Hooks for hanging (I use curtain hooks and S hooks)
Business card holder
Sign with your name on it
Bungee cords
Tarp
Weights (concrete, water jugs, etc.)
Side walls (to close up at night)
Umbrella
Hand fan
Sunscreen
Bug Spray
Lantern (for after dusk or pre-dawn setups)
Hand towel (setup can get sweaty)
Mirror (you want to look nice after that sweaty setup)
Water
Snacks
Cooler
Change box and change (very important!)
Project to work on while the customers browse (reading a book
makes you look uninterested)
Guest list for mailing and email addresses
Good attitude, smile, and sense of humor!
I highly recommend thinking about taking credit cards. My sales have doubled since I have done
so, and using a low-end service like www.propay.com
means there is no investment in equipment.
I pay $60 per month and a transaction fee per sale, and use a $5
knucklebuster for my sales.
APPLYING: OK, you are all ready for the shows,
let’s apply to one! Which
one? That’s the hard
part. There are several magazines
and websites that list shows by area.
Sunshine Artist and Where the Shows Are are both good sources. I also search the web for events in my
area, and ask other artists. I’ve
found some gems by word-of-mouth.
There are promoter shows (such as Howard Alan or Amy Amdur) that
have fairly high display standards, but they spend a lot of money getting
people to the show.
I have learned a couple things. More people at the show don’t
necessarily mean more sales, but if no one shows up, no one will buy. I have had light attendance shows that
did well, and then the same promoter had another show where there were NO
patrons – and no sales.
I’ve also learned that the more things there are going on at a
show, the fewer art dollars are spent.
So if the show has a carnival, a seafood festival, a concert, a car
show, a pet show, and an art show, very few people will be there to buy
art.
Also, local is best for several reasons. First, people are always more willing to
buy from a local artist, and second, you have less travel expense if you
don’t have to stay overnight in a hotel, or spend a lot in gas. Starting out, I’d recommend only
doing those shows you can stay at home for.
In my third year, I am just branching out to overnighters –
but then I am blessed with many good local shows.
Most shows require that you apply several months in
advance. I apply for my fall shows
in the spring, and vice versa. They
also require slides or photos of your work – and your tent. Set up in your backyard on an overcast
day (no harsh shadows). Take the
glass out of your frames (no glare), do a simple setup (not cluttered) and
as professional as it can be. Send
that in with your application, and it should be fine. There is a great debate over whether
juries want a ‘real’ booth, or a ‘staged’ booth
photo, but I believe in being honest, and each jury will have a different
preference.
There is also an option in some shows to apply electronically,
such as Zapplication or Juried Art Services. These are easier once they are set up,
and don’t require slides to be missing for months at a time.
Once you’ve applied, you will have to wait for a
response, usually several months.
You either get a rejection or an acceptance letter. The acceptance letter is sometimes
accompanied by a vendor packet, telling you where to go to check in, etc. So now, we graduate to Part II:
PART II – THE SHOW ITSELF
BEFORE THE SHOW: I collect data that is useful for each
show. Not just how many people
attend, or how many artists are setting up, but also whether I will need to
dolly in my stuff, if I can set up Friday night, what the hours of the show
are both days, and if there are prizes and booth-sitting services
available.
I keep that data in my database, and have it available for
next year, when deciding whether I liked that show enough that dollying
wasn’t too bad. For instance,
I just had a show in DeLand where I had to dolly my whole setup (by myself)
and it took twice as long as normal.
However, sales were great and I won a prize – definitely a
good show!
GETTING THERE: Next question will be – how do I
get my stuff to and from the show?
Well, if you have a van already, you are set. If not, you may want to rent one for your
first try. What if you hate doing
this? No need to sink $20,000 into a
van and then regret it! Another
option, if you have a heavy-duty car or truck, is to rent or purchase a
trailer, and put all your stuff in there.
This has advantages and disadvantages. Driving with a trailer is difficult, and
more so in tight spaces (like setting up at the show). However, you can disconnect the trailer
and drive around town each evening without it, and you won’t have to
unpack between shows.
SETTING UP: Let’s say you had or have rented a
van. Pack up the night before, and
head on out Friday evening, hopefully.
The shows that have Friday night setup are higher in my book than
those that don’t, as I don’t care for waking up at 4am to do
all that setup myself. In addition,
my husband will help me set up the night before, but not if he has to wake
up and go with me in the morning J
You arrive to your show, find the check in booth, get your
spot assignment and go. Do everyone
a favor – unload everything first, go park your vehicle, and then
come back and set up. Ask a neighbor
to watch your stuff while you do so.
Most will be glad to, as it will cut down on traffic and congestion
within the show, which is chaos at this point anyhow.
I usually set up tent first, then walls, then framed prints,
then tables (so I don’t have to lean over tables to hang prints),
tablecloths, and mesh boxes on the tables.
This I do Friday night, if possible, close up my booth with the white
walls, and come back the next morning.
I roll up the side walls (makes it easier to take down again
Saturday night), set up my matted prints, my jewelry, my sales area, and
I’m ready to go. Without help,
it takes me about 3 hours start to finish.
SHOWTIME!: It’s 10am, the patrons are starting
to filter in. One by one, they look
at your booth – they see the spectacular piece out front, ask you how
many hours it took, stand amazed at your beautiful pieces, tell you they
should be in a museum… and then walk out without buying
anything. It is very frustrating,
and all artists go through this. Do
not despair! Do not take their
unwillingness to buy to heart – someone will buy your stuff. Just this weekend, a patron loved a
necklace, but didn’t buy it.
Next Wednesday they emailed me, asked if it was still available,
they wanted it shipped to them. It
happens! Having a website is a good
backup tool, as well – I hand out my card as they leave, saying
‘most of my stuff is available on my website’. I’ve gotten several after-show
sales this way.
I also get commissions after the fact, and have had last
minute sales while breaking down.
One gentleman came in to my booth at 5:15pm. Show had ended at 5, most vendors had started
breaking down earlier (a local race pulled all the crowds away at 4). He came in, asked how much a piece was,
and bought the $200 piece on the spot.
Can we say last minute birthday gift? (It was a necklace).
The most important part of the show is talking to the
customers, smiling, enjoying your conversations, learning things about
people. To me, this is my shining
social hour, and I love it.
I’m not a hard-seller, but I give information about pieces
people are looking at, such as ‘that piece is based on an old Russian
beading technique’, or ‘I took that photo this summer in Ireland’. It gives them a chance to continue the
conversation without having to start it.
If they are interested, they may ask more questions, if not, they
will nod and keep looking.
If you are shy, this isn’t easy, but having something to
talk about may help a lot. Talk up
your work – mention that the prints are on archival paper, or on
canvas, or that you created that work for a Breast Cancer Charity
Event. ‘Let me know if you
have any questions on a piece, I’ll be happy to answer them’;
‘If you wish to try a piece on, I’ve a mirror over here’;
‘Are you looking for something in particular?’ I never used to ask this, but this
weekend I sold three pieces just by asking that. The first said he was an O’Brien,
and I realized I had a photo of a castle that was his ancestral seat; he
bought it right there. Another lady
said she collected dragons – I directed her to one of my dragon
drawings, and it sold. A third
couple had stayed at a cottage in Ireland near where one of my
photos was taken – they bought the framed copy right away. Information is powerful!
While you sell items, make sure to keep records of what you
sell, as well as the sales tax charged (very important!). I keep a running tab of my sales for the
day, so I know where I stand at any point.
Most artists are cagey about letting other artists know their sales,
but I have no problem saying that, three years into the business, I’m
averaging about $700 a show. Some
folks who do higher-end stuff aren’t happy with a show under $2000,
but then again, they are frequently traveling more than I am.
Saturday night, I usually take my little items (jewelry) that
are more expensive, and box up my matted prints (to keep them from getting
damaged by dew or rain), and leave the framed ones up on my walls. I put my walls down and close up the
booth, but it would add another hour to setup the next morning to take down
the framed items – and with photos, none are originals. If they are stolen or damaged, I can
reprint them. It’s a matter of
cost vs. benefit, and usually I err on the side of laziness J
Sunday morning, since I live in the Bible belt, shows usually
don’t get swinging until after noon.
However, I find a lot of patrons wait until the second day to make
their purchases, so it makes up for early light activity.
PRACTICAL MATTERS: If you are doing the show with a friend,
spouse, or partner, these matters may not be as difficult, but what if you
are alone? I usually am, and things
like eating, going to the bathroom, and getting my vehicle are items which
require assistance. I usually ask a
neighbor if they would mind watching my booth for me while I run to do
whatever – most are helpful.
You may return the favor for them in an hour, after all! Some shows have booth sitters, but you
usually have to sign up ahead of time for them. Sometimes I see a friend at a show, and
ask them to grab me some lunch.
There are several solutions to these matters!
LODGING: So you’ve gone and done a show that’s
2 hours away from your house. Do you
drive back or do you rent a hotel?
Well, think of the price of gas.
With your van, does it cost more to drive back and forth each night
than a $50 hotel room will cost?
Usually. And the time lost,
and the fatigue while driving after setup and a day’s work will cost,
as well. So, I usually use the 2
hour mark as my guideline – anything more than that, and I stay
overnight. I search online for
basic, cheap accommodation. For
instance, I found a Suburban Extended Stay room in Daytona last weekend for
$45 a night – about 20 minutes from my show site. Score!
There are other options for the adventurous. You might have a bed in the van, or bring
a tent to camp out, or have an RV.
However, I prefer to bring less and sleep more. J
BREAKING DOWN: No, I don’t mean a nervous
breakdown, though you may be ready for it!
I mean breaking down the tent after the show ends. I caution highly against breaking down
early, even if the crowds are light!
Not only is it usually against the show rules, but I’ve had
many last-minute sales over the years.
Often it is because I am one of the few tents still open! Yes, it is very tempting when the crowds
have gone for the day, but resist the temptation if you can!
When you have packed up all your stuff, then go and get your
vehicle – again, this cuts down on traffic and congestion in the
street or park. My breakdown (alone)
is usually only about 1.5 hours, much less than setup, as I have a system
of what items go in what boxes, and have them labeled. The prints go in here, the framed items
go in those, the jewelry on those T-bars goes in this box, etc. Everything to its place, and it goes
quickly and efficiently. Then you go
home, relax, and procrastinate your unpacking J
And now, on to Part III:
PART III:
PAPERWORK AND AFTERMATH
AFTER THE SHOW: You’ve done your first show,
yay! Now you are exhausted, but
hopefully you’ve made some profit.
Remember, a no-sale show is not necessarily a wash – you can make
a lot of contacts, get your name out there, and start getting an artistic
reputation in the area. And you
learn something each show; my display changes a bit each show, as I think
of better or different ways of doing things, packing things, displaying
things.
As soon as I get back home, I do the following things;
1.
Enter my credit card sales online (faster done, faster
paid)
2.
Go through my cash, take out the amount over my
‘bank’ of $100, leave the rest for next show
3.
Take out any checks for deposit the next day with the
excess cash
4.
Enter my sales (and sales tax) into my sales
spreadsheet, including keeping track of my inventory
5.
Replenish my inventory for sold prints
I usually unpack the next day, after I’ve recovered a
bit physically from the show, the packing, and the drive home. Of course, if you have a trailer, that
step isn’t necessary!
TAXES: Oh, that dreaded word! There are a couple to pay attention to,
though. Sales tax needs to be paid
in, either quarterly or monthly, and income taxes. If you are making a profit (and you will
know that if you are keeping good records!) then you may need to make
quarterly income tax payments to avoid penalties at year end.
So, now that you’ve come through the roller-coaster, did
you enjoy it? Sure, it was hard
work, but was it fun? I personally
truly enjoy the chance to meet people, share my visions and artwork, and
make some cash as well. I started
out doing 3 shows my first year, and have done 15 in the last 12
months. I haven’t quit my day
job, but I am definitely making enough money to start thinking about those
estimated tax payments, and it’s still early days.
I hope my ruminations have helped you on your own path towards
art shows. Remember, it’s not
for everyone, but if it is for you, go for it and have a wonderful time!
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