Images are a visual artist’s stock in trade. Adding even simple messages to your work can have stunning impact.

Artists communicate visually. Add words, numbers and symbols to your work, and you have a new dimension and method of giving viewers and collectors an insight into your purpose and your vision – and perhaps even a reason why they should collect your work.

Ever walk through an abstract art exhibit, looking at the titles of each painting or sculpture to tell you more about what the artist intended? You may be looking for clarification and more information. What you read can confirm, enlighten or even surprise you.

Right-brained people are more visually oriented. They usually thrive on eye candy and appreciate art as it is.  Left-brained people who think more logically often relate better to a concrete idea, or a written message which could be embedded in the art. You can double your audience and increase your sales by including words, thoughts, poetry, and even puns or jokes in your art.

Words about your art can be especially powerful too. Take a look at the message displayed by artists Ben and Kate Gatski of Gatski Metal when presenting their collection. The five words “Made with Old Farm Machinery” instantly compels curious visitors to come closer and see for themselves. This short statement addresses the viewer with information almost before they see the art.

Gatski Metal’s whimsical trophies and assemblage are conversation pieces. With their words the artists have already started the conversation. Their “Unique Selling Proposition” is stated clearly, upfront. The artists have used words briefly but effectively to reach those collectors, galleries and retailers who would be a good match for their work.

There are limitless places where words or symbols can be used in the creative process. Art can be made of words , or about words. It may include words that are comforting, humorous, inspirational or political.

How do you use messages in your art, or about your art? How are they perceived? Do they help sell your work?

Social media necklaces by artist Kirsten Denbow.

Hiding out in your studio? Going public can help you improve your business.

Perhaps you like to stay in the studio, shipping orders out to your wholesale accounts. Or maybe your gig is selling online, through your website, or on Etsy. You might prefer to deal with galleries, reps or agents who can take care of the marketing and sales for you.

Although those methods can save time, travel and money, there is much to be said for coming face-to-face with the public once in a while. Whether that means you are exhibiting at a retail art show or craft fair, doing a trunk show, or personal appearance, let’s take a look at what retail customers can teach you:

What they like. Getting honest feedback by putting yourself on the front lines is really valuable. Perhaps you will learn that your handmade earrings are a bit too heavy, your color scheme is off, or people don’t understand how to use your products. You can get a lot of good information by observing a fresh response to your work.

What’s out there?  Check out your competition in real time. What are they offering, and how is their booth set up? How are they displaying their work and interacting with shoppers? Do they have great presentation or packaging?  Expose yourself to some retail commerce to get ideas of how to improve your own line and presentation.

Get suggestions. The incomparable business guru Harvey Mackay says that his customers give him his best ideas, and he’s got a good point. Talk to potential customers. They will tell you what they’re looking for, and they just might have a brilliant idea for you. How can you solve their problem, give them options, and offer something fresh and different? Listen and learn.

Meet your audience. Maybe you thought you knew who your target customer is – and maybe there are other markets out there you could appeal to also. Observe who is responding to your display. Would they use your products in ways that you didn’t expect? If so, you wouldn’t be the first artist to realize there are whole new markets open to you.

Experiment. Thinking of trying a new direction, or a radical shift in design? Test your new work out in the public arena. Are you “wowing” your audience, or maybe not so much? There is nothing like doing a little market research before gearing up into production.

Make connections. There are many people you can meet at a retail show. New customers, who may share their email addresses in the guest book you have in your booth. Wholesale buyers, who happen to be walking the show and express an interest in doing some business. Other artists, who can pass on information about opportunities, tips and ideas.

There is little downside to getting out into the retail marketplace, at least on an occasional basis. You’ve got a lot to gain. Plus, a little cash in hand isn’t a bad thing either! 

Canadian fiber artist Julie Sinden creates handmade hat and  scarves to keep her customers warm and fashionable. She shares her story.

ABI: How long have you been creating your hats and scarves?

JS: I began making the hats and scarves in 2005, shortly after graduating from the Kootenay School of the Arts in British Columbia, where I majored in textiles. At the time I was working mostly with weaving and natural dyeing, but one day made myself a boiled wool purse, and became very excited by the possibilities of the material and the process.

I came up with a pattern for hats, and included a small run of them at a studio tour that I was participating in. The response to them was overwhelmingly positive, and the following winter I participated in the One of a Kind Show in Toronto, a very large and very popular retail show in Toronto. The show was an incredible success, I was able to quit my job waiting tables, and have been making hats full-time ever since.

ABI: What methods do you use? Are you using any natural dyes?

JS: The hats are made using a method called boiled wool, which means that each piece is knit very large, and then shrunken, or felted. The result is a hat that is virtually seamless, a very warm thick weight for winter, and since I use only 100% merino wool, incredibly soft. Each hat is hand-embellished with boiled wool fabric, reclaimed fur, or buttons.

While much of my work in art school was focused on natural dyes, and I am still very passionate about it, my line of hats are not dyed by me, simply because it would be cost prohibitive. My goal with the hats has always been to create a unique and functional handmade product, but one that was also affordable. However, I do have a small line of naturally dyed yarns and cotton scarves that I sell through my website.

ABI: What’s new in your line for the Buyers Market show this year?

JS: After years of being asked, the new hat style this year is finally one for the men. It’s my classic design, subtly embellished with pinstripes. I also have new colours in the flower cloche and fur hat styles, my two most popular designs. My new favorite is the fur hat in warm winter white. It’s classy and gorgeous.

ABI: What’s your best tip for new exhibitors who are just getting into wholesale?

JS: I’m relatively new to the wholesale market myself, having only participated in the Buyer’s Market last year in Baltimore. I learned many things that first show, but perhaps one of the most important things was the value of following up with customers.

Have sales slowed down? Are you looking for new ways to expand your market? Spruce up your product line or develop new collections altogether.

Most successful artists present about 30% new work every year. Radical redevelopment of your product line isn’t necessary – keep your bestsellers, and make subtle improvements. Then, watch the market response.

There is a natural lifespan for product lines. Have you ever seen exhibitors who still seem to be selling what was popular twenty years ago? It happens when artists and craftspeople don’t grow, learn more skills and make time for product development. Sales will slow down and stagnate unless new product is added.

Evaluate your line. What has potential, and what’s past its prime?  As collections become older and have been “seen,” they drop off in sales. Your current customer base wants to know what’s new. Here are seven ways to start thinking about capturing new markets and making more sales to your existing clientele:

1. Themes sell. Consider developing part of your line, or a new collection into a theme. Then, spin off variations of that theme. An elephant theme, for example, might evolve into a “zoo collection.”

2. Explore new materials, and combine them with your existing line in a more mixed media approach. Jewelers, for instance, are using alternative materials as precious metal prices fluctuate and become too high-priced for some of their customer base.

3. Take a look at museum shows. What’s happening in national shows that travel can often be an inspiration for your own work. Sometimes they even start trends.

4. What’s hot with the popular culture? What’s trendy and what’s lasting? Some designers reflect passing fads in their work. You may want to stick with more classic designs, but use elements in them that give a nod to colors and styles today.

5. Hit new price points. Spreading your line to include higher-end work as well as moderately price merchandise can breathe life into your sales. You can cultivate a new customer and start breaking into that market.

6. Think differently. Some artists want to stay safe. What if you ventured into some experimental work? Make samples for your trade show. What doesn’t work can be sold as a one-off, and doesn’t have to be put into production.

7. Listen to your audience. Quite often, customers, gallery owners, or your sales reps can give you your best new ideas. They are on the front lines, knowing what is catching the eye of shoppers now.

Your one-of-a-kind pieces showcase your abilities and your vision. They may not sell on a regular basis, but what they can do is grab the attention of prospective collectors who will purchase a less expensive item from you because it fits their budget. They may want to “trade-up” to more expensive work from you in the future.

Having a broader price point spread gives you the opportunity to capture more than one audience. There are collectors who spurn less expensive work, simply because in their eyes there is less value. A high-end collection as well as a more moderately priced line gives you flexibility.

Use one-of-a-kind pieces to help your galleries sell your entire body of work. A spectacular piece  surrounded by your regular line grabs attention while offering less expensive alternatives to shoppers. You may make special arrangements to consign that one exceptional piece of higher-end merchandise with the gallery. In return, request special placement in their store display. If it sells, you will have a gallery account which sees the market for higher-end work from your studio.

Other benefits of making one-of-a-kind showcase pieces:

• Enter them into art shows and exhibitions
• Feature them on the home page of your website
• Use your studio time when creating one-of-a-kinds to experiment and try new ideas
• Use these images on your business card, brochure and marketing materials
• Feature them prominently in your retail and wholesale booth displays

How else do you use one-of-a-kind pieces that you create? Have you increased sales volume in your own business this way?

Photos courtesy of Niche Magazine: Cuff bracelet by Sana Doumet; Glass art by Ed Branson. 

Millie Kaufman of Hevea Arts creates an appealing greeting card line that really connects with her customers.

The Arts Business Institute spoke with Millie about her work, and how she became successful selling it wholesale.

ABI: Your work is three dimensional. How did you develop this idea and what is the reaction?

MK: My dimensional work developed out of trial and error as most things happen with artists. I was just experimenting with layered papers, and the first card I made dimensional was the sunflower. It all started with one card, and every card thereafter became dimensional as well. Early on while selling my cards as craft shows, I would make two of the same card, one flat and one dimensional. The dimensional always sold quicker than the flat card. So after my little experiment, I only made dimensional cards.

At trade shows people always walk by my booth and have a need to touch my cards. It’s as if they are unsure if the artwork is raised or not. It has gotten to a point, that I am seriously considering placing a sign next to my cards that reads, “Please Touch”.

ABI: At first, you only sold your work through local craft fairs. Then you exhibited at the Buyers Market of American Craft. What happened?

MK: The Buyers Market of American Craft opened my business to buyers who appreciated my handmade greeting cards more than the people who attended the small craft fairs where I sold my cards. The buyers looked at my cards as artwork versus just another “run of the mill” greeting card.   By the end of my first Buyers Market show, I had orders from all over the United States and it was the start of a great relationship with many gallery owners.  The Buyers Market gave me the inspiration and confidence to continue with my greeting card business. In addition, the classes offered by The Arts Business Institute were  a useful resource to learn about selling my work wholesale.  I now have customers who collect my work, frame the cards and display them year round as artwork.

ABI: Do you still sell your work retail to the public?

MK: No, I don’t sell my work retail. For starters, I don’t wish to compete with the shops that do carry my work.  If I sold retail, I would have to insure that my prices were higher than the retailers so that I would not be taking business away from them. In addition, there are the extra costs of setting up a merchant account and shopping cart to my website that I do not want the extra hassle of doing

ABI: What types of specialty markets are you selling to?

MK: My specialty market is Judaica. My Jewish line has done very well for me. I design cards for Rosh Hashanah, Chanukah, Passover and Bar/Bat Mitzvah celebrations. Most orders for my Jewish cards come from temples who are looking for something different as far as cards as concerned. I won a Louie Award from the Greeting Card Association last year for my Rosh Hashanah card showing a Torah and Shofar.

ABI: How often do you add new designs to your line?

MK: I add new designs all the time. I find it is a great way to keep in touch with my customers. Instead of just contacting my customers for an order, I contact them about new designs and then I hear from them and they place an order.

Need a gift for someone special? Choose from these lovingly made items for Valentine’s Day.

Celebrate resiliency with a Mended Heart Necklace by Meeshka, $102.00, made of sterling silver and leather with a sturdy silver clasp and signature “m” bead. Heart is approximately 1.75″x1.50″. Length is approximately 18″, also available in red leather.

Send a love note with a “Heart Print” by artist Sarah Rosedahl, 5 for $15.00. Each block print is unique, and embellished with metallic ink.

This dapper red frog brings a smile, $47.00 from Sculptures by Stepper. Features beautiful translucent red enamel on back and black enamel eyes. Hand-cast in solid lead-free pewter and meticulously hand-finished. Dimensions: 3″L x 2.5″W x 1.25″H.

Capture your true love’s heart with a charming Cupid Hedgehog  print, $22.00 by artist Jessica Boehman. This tree-free eco-friendly giclée print fits easily into an 8″ x 10″ mat.

Fun vintage cocktail rings, $40 each, from Naughty Blonde Redux may be just right for your retro-loving Valentine. One of a kind, hand painted and set in epoxy resin. Kiss kiss!

Impress your new love interest with this stunning Seascape Globe by glass artist Matthew Paskiet from Firenation, $350.00.

Make your sweetheart happy with this pink dichroic heart pendant by Denise Childs, $28.00. Heart measures 1 3/4″” X 1 3/4″ and comes with a 18″ sterling silver plated chain.

Love Ewe! Charming  hand-felted sheep presents your love with a red rose. How sweet.  Sheep are about 4″ x 6″ and are made by artist Jennifer Armstrong of Quirk Farm & Fiber Arts Studio, $12.00 each.

Warm their hearts with this wonderful Victorian style hanging paper doll from Avant-Carde, $22.00.  Finished size is approximately 3.5 inches wide (at widest point) by 11 inches high (including ribbon hanger).

Lovely handpainted silk scarf by Ritika Gandhi of Ritz Creations, $80.00, will earn you a place in her heart, and become a much-loved part of her wardrobe!

Artfully win your sweetie’s heart with this “Love” collage,  painted with acrylic paint, inks, doodles, tape and more on a 6×6 gallery wrapped canvas by artist Terry Parvan, $79.00. The love message is to always “laugh as much as we breathe and love as long as we live.”

Complete your love match with these unique fingerprint wedding bands, actually taken from the bride and groom! $350 each from Rock My World Inc. Custom made, allow 4 weeks for delivery.

A real conversation piece . . . your names on a personalized vinyl clutch or wallet with a Scrabble tile button. Very unique! $12.00 from Kim Hollis of Lil Tin Purse.

Give her your heart. Handmade lampwork glass sculptured hearts are hand wire-wrapped, in either sterling silver or 18K gold by artist Hillel Rzepka of Handmade Hearts in Laguna Beach, California. $20 each.

Fashion designer Bruno Pieters just launched a new clothing line called “Honest By” which reveals everything – materials, methods,  pricing structures. Would you do this?

The Honest By brand offers eco and animal-friendly clothing, with a concept that’s new – communication to the consumer about every aspect of the manufacturing method, materials and the pricing strategies. Different designers were invited to participate – some accepted, others declined.

In this fascinating and thoughtful interview,  the designer discusses his great reverence for creating fabrics and clothing which are consciously-made. Fabrics are often recycled, vegan, organic, and even “skin-friendly,” meaning the cloth will not harm your skin in any way.

Pieters wants his customers to see all of the costs involved and the price calculation. Twenty percent of the profit, if any, will go to charity. The price calculation for his clothing is a 2.0 markup over cost, which is broken down in great detail. Expenses justifying the markup (staff, rent, insurance, marketing, etc.) are itemized.  All items in manufacture are revealed, with their origin, content and price. Also presented is each item’s carbon footprint.

A core principle of their philosophy is, “We want to give you the opportunity to shop with complete awareness of what you are buying.”

The designer talked about the fact that the clothing line is available only on his website. He says, “We decided to sell exclusively online because we thought it would be too difficult to find retailers who would be prepared to expose their store mark-up and concede with our demands.”

He goes on to state, “Also our consciousness is evolving, I think we are realising the way we live, shop, design and produce is not sustainable and is possibly outdated.”

Pieter’s concept brings up all kinds of topics for discussion, including:

• Makers’ responsibility for use of materials that may be harmful to the environment
• Willingness to share all costs and sources
• An alteration in the concept of “perceived value”

Would you participate in this type of project?

Could this ever be a successful model, in your opinion?

Why or why not?

One-of-a-kind “Reliquary Boxes” charm artist Grace Gunning’s many collectors

After years of working in glass, craft artist Grace Gunning discovered several old metal-forming machines, some dating back to the 1860’s. She became fascinated by them, and began to experiment with metal fabrication techniques.

This led to the creation of unique pieces of art she calls “reliquary boxes.” Reliquary boxes can be as small as 2” x 2 ½” or as large as 18” x 18,” and average a couple of inches in depth.

Each reliquary box is lined in velvet, ready to hold treasures or memorabilia. The boxes themselves have moving parts, which add to their quirkiness, and provide a quiet respite from the fast-pace modern world. Although many of her collectors use these boxes to hold jewelry, she has noticed that quite a few are displayed in offices as well.

These collector items reveal much about the personality of the owner, and can be customized for them. Grace smiles and mentions that she loves making commissioned boxes most of all. She recalls a wedding box created for a couple planning to honeymoon in Tahiti. An old travel poster of the exotic destination was combined with their photos to create a memento that will become an heirloom and conversation piece.

An unexpected market evolved as Grace has been asked to create custom boxes to hold the ashes of beloved pets or even family members.  Collectors have embraced them as a very personal and cherished piece of functional art.

Grace expresses the desire to bring new artists into the fold, passing on her experience and techniques in metal craft, using unusual, antiquated equipment.

Art fairs, craft shows, indoors, outdoors, juried, non-juried – there is a large variety of events taking place all year long in which to sell your art or craft work.

Some shows are wonderful and profitable, becoming long-time staples in your schedule. Others are memorable only because you can tell horror stories about them for years to come.

How to choose the right ones? It’s difficult because the whole industry is in flux. Exhibitors complain that shows and fairs are changing, standards may be lowered, and that venues once producing high sales have slumped. Promoters may be scrambling to fill their shows with quality vendors and increase public attendance to turn a profit.

Do some research before committing your time and resources to shows that are new to your schedule. Join online groups such as Art Fair Insiders,  Sunshine Artist, or Festival Network Online  to check out show listings and ratings. Join in the discussion and ask specific questions about shows and fairs you are considering. These are great resources to share information and advice.

Walk the show, if possible, before you make the decision to apply as an exhibitor. A good time to do so is near the end of the event. You may want to approach some exhibitors who aren’t busy, to let them know you are considering exhibiting at the show, and ask for their honest feedback. Opinions will vary, but you should get a good feel whether attendance was up or down, and how sales fared overall. Also ask them, “Would you do this show again?”

Take a look at the art and crafts for sale – does yours fit in well with the look of the show? You may be wasting your time if your target customer doesn’t shop here.

What other events are taking place at the same time?  Is this a music or jazz festival plus an art show? Is the show fighting for attention while other major events are going on in the area?

How established is the show? It’s easy to find out how old a show is, but things may have changed. Is there a new owner/manager? Is the show “stale” with the same old exhibitors year after year and not much new? Does the show have low energy, or is it exciting and growing?

How many vendors are there? Who are they – do you recognize names? Take a look at the list of exhibitors at a show to see if you recognize names of successful artists you know who are participating, and who sell to your target audience. You may even find some good show suggestions just by checking out schedules on the websites of artists you admire.

Are there non-art related businesses in booth spaces? That’s a red flag. If your business does well in home and garden shows, or other venues where non-art related merchandise is sold, you may not be concerned. But for many artists and craftspeople, that’s not the type of environment that is conducive to strong sales.

What is the cost? Figure out the booth fee and what your expenses would be to attend (hotel, travel, loss of studio time, etc.) How much must you realize in sales to make a profit? Is this realistic?

Ask the promoter for details. How many people attended last time? How is the show advertised? You should be able to get this information from a reputable promoter. In fact, they should be happy to speak with you on these topics. 

Is the show non-juried? If so, be prepared for an anything-goes type of experience. Some street festivals have many thousands turn out, and can be profitable for all types of artists. On the other hand, a low-cost unjuried event often means you will be wasting your day with browsers and bargain hunters, and wondering if you were temporarily insane to have applied.

What’s your criteria for sizing up a good show? Have you found any “diamonds in the rough?”