Slow periods happen in just about every business, and they will happen to you, too.

Rather than panicking, slashing prices, or wondering why you ever thought you could be an entrepreneur in the first place, stay focused on constructive things that you can afford to do while you have available time.

If you’re just starting out, you might be experiencing the first evidence of the sale cycles in your business. There is a busy season for buying, both at wholesale and at retail, and sometimes you can go into a temporary slump during a usually busy time.

New businesses can experience fits and starts, as they start in the marketplace and need to become more well-known and established before sales are more regular. It can take a few years for any business to become profitable.

How can you make the best use of slow periods in your art business? Here are 10 ways to get value from the downtime: 

1. Get back on the horse. Your business may have dropped off a cliff because you forgot to continue marketing on a regular basis when you got busy working on orders in the studio. In that case, you need to make a Marketing Calendar for your business to continue to drive traffic to your website, get your images into publications and connect with prospects.

2. Get creative. Use your newfound freedom to work in the studio on fun and experimental work, or one-of-a-kind art that you normally don’t have time to make. You may find some new ideas and directions for your body of work. Even if it doesn’t result in anything you can sell, it will give free rein to your creative spirit.

3. Learn. Take a course or workshop to sharpen your skills. No one who wants to build a business can ever stop learning. Take an art workshop, or a business class, or an online class in a topic that will help you develop professionally.

4. Follow up. Revisit your list of prospective accounts and check off any follow up that needs to be done. Remember all those business cards of buyers whom you never reached, or even reached out to? Connect with them, either by a phone call or email. Find them on social media, and get reacquainted – which is a good way to stay in touch on an ongoing basis.

5. Review. Do you have systems in place to keep your small business efficient and profitable?  Are you keeping the books on a regular basis, managing your marketing, and scheduling shows and events so that you take advantage of opportunities?  Take this time to make improvements to your business model.

6. Work on your website – especially if you know it’s lacking. Your website is your 24/7 connection with the world and represents you and your business. It should be current, and user-friendly, or it isn’t serving you. Get professional help if you need it. Investment in a good website is an essential business expense.

7. Update your social media accounts. Add photos of your work to your Facebook profile, create new Pinterest boards to share, get started on that Google+ account that you meant to create. Then, start promoting your updated website!

8. Get organized. It’s cathartic to clean out the studio, take inventory, order new supplies and prepare for being busy again. Because you will be.

9. Reach out to your community. Schedule dates to be out of your studio, attending networking events, an artist’s salon or a guild meeting. Trade ideas and resources. Being part of an arts community is a huge determinant in an artist’s success.

10. Take a break. You may be in need of a mental health day, or even a vacation. Many artists know their slow months, when business is almost non-existent, and plan getaways to relax and recharge their batteries. Avoid burnout by making the most of days when you can get out of the studio for a change.

What activities have been effective for your business when things slow down? Please share.

Do you need Marketing help? Our newly launched guide “Marketing for Artists & Craftspeople” is a comprehensive resource to taking your business to a higher and more profitable level. Check it out and get started today!

With commerce and community going online, artists can gain from using social media for their businesses.

Want to gather information, take a course, meet prospective buyers? Then you are probably using the internet, and may be using social media also. Facebook, Twitter, Google+ , Pinterest, LinkedIn and a host of other social media platforms connect a global community that is growing explosively. In 2011 the Pew Research Center found that 65% of adults online use social networking sites.

With Pinterest as the fastest growing social platform offering a rich visual content, artists can take advantage of driving traffic to their own websites, while sharing curated content that is also of interest to others.

Since the secret of social media is engagement, simply posting links to art you have for sale isn’t going to work. That’s a fast way to get blocked and ignored. Networking online, like networking in person, is about giving  and building relationships with others. The more you give, the more you receive.

Sharing, retweeting, repinning and giving other praise reinforces your relationships. Recommending others whom you find valuable to follow on social media will often result in them helping to promote you as an artist, and your work.

And what about using social media to make sales? Search Engine Journal recently published an interview with eBay Powerseller John Lawson, who says, “It is about the marketing of niches to the ones interested and ready to purchase. The tools today just make the spread easier, they make the finding of the niche buyer more precise and the transaction smoother.”

Finding your niche is key to reaching your target audience, whether on or offline. Using social media lets you hone in quickly on where your best prospects gather, and to become a part of that online community.

So next time you tweet, share or post on a social media site, don’t “hit and run” by leaving a link to your website behind like an advertisement. Get to know the community there and connect with them with an attitude of openness. You’ll get much better results, and make a few new friends in the process.

Meet Kavita Singh. This talented textile artist creates colorful art that’s a joy to wear.

Imagine you are a retailer, opening a package received from Silk Designs by Kavita. Each scarf and garment is perfectly pressed, layered in tissues, in the same order as the packing slip. Easy to unpack and check off, ready to hang in your store. This is the level of care, and customer service, that Kavita Singh performs for each of her wholesale accounts.

Having started painting silk 30 years ago as a young mother, Kavita developed a retail business and eventually turned to almost exclusively wholesaling her work. She recently spoke with us about her business and her techniques.

Hand painting on silk produces a lovely result, but is incredibly time-consuming. To be able to work more quickly, she creates designs in bold patterns and colors, and screen prints them by hand onto the fabric. Her garments are flowing and loose-fitting, which allows her to avoid making her jackets in multiple sizes. She creates S/M and L/XL sizes, mostly adjusting the hem and sleeve length.

Each year, she designs at least two new products for each of the Spring, Summer and Fall seasons. Scarves are her bestsellers. Her line is sold at museum stores, symphony and opera gift shops, boutiques and galleries, and even cruise ship gift stores. Kavita’s designs have been requested by the Royal Family of Malaysia and have also been displayed in the White House.

This California-based artist exhibits at numerous wholesale trade shows, as she believes it’s best to see the buyers in person. She also feels strongly that it takes persistence, and showing up for several years at least, to be successful. Kavita laughs and says, “Buyers finally have to break down and buy from you, because they have seen you so many times!”

Another tip that she offers is for exhibitors to have show specials planned for the wholesale events they attend. With a tight economy, she often notices retailers looking for something free. It may be shipping, or an extra item or a discount – which she sometimes offers when certain quantities are ordered.

Kavita suggests that artists who want to wholesale work on offering a variety of items in different styles, colors and price points. It’s an ongoing process of designing, and evolving your business. “You’re never finished,” she says.

Her painted silk line can be viewed on her retail website, but she also has a separate website for wholesale buyers, who can call her for more information.

Both of these selling methods have advantages for artists and craftspeople. Let’s take a look at some of them.

When retailing your art or craft work, you must prepare for each upcoming fair or event by working in your studio, building inventory. That means time, effort and money are spent on the hope that those items will sell at the retail show. Although artists usually know their bestsellers, they are making an upfront investment, while looking for a future sale.

 There are costs for exhibiting at retail shows, including:

• Cost of materials and labor
• Cost in holding inventory
• Cost in booth fees, travel and lodging
• Cost in lost studio time when exhibiting at retail shows

Retailing definitely has value to artists and craftspeople:

• They produce money in hand at the time of the transaction – at retail prices
• Gives the artist an understanding of their customer, and  feedback on their designs
• Interaction with the public and other artists in the marketplace.

A major difference between producing for wholesale vs. retail is meeting your potential.

When selling at retail, how can you know that you have reached your potential sales? In a perfect world, you would sell all but one of a product to know that you have maximized your sales of it. Once each item sells out, of course, the potential is unknown and possibly unreached. Therefore, potential sales may be lost.

This situation doesn’t happen at wholesale, because display samples are not sold during trade shows. Each sample has the potential to be sold an unlimited number of times.

When designing and releasing new items, wholesale holds an advantage. An artist can create just one of each new design and display it at a trade show. They can either put it into production to fill orders, or discontinue it if it fails to sell, without further investment. Time spent on creating stock of poor sellers is minimized.

At retail, the artist puts their investment in upfront, with the hopes of selling – and then deals with the reception of those designs, and consequences. At wholesale, artists create in the studio after items are already ordered and sold. Their time can be more efficiently spent, and inventories can be leaner.

There are costs for exhibiting at wholesale shows, including:

• Cost of trade show booth fees – which are usually higher than retail shows (although fewer shows are generally attended annually)
• Costs of materials and labor
• Cost of travel and lodging while exhibiting at wholesale shows
• Cost for lost studio time while exhibiting at wholesale shows
• Cost in packing and shipping time for orders
• Cost of employees employed in studio
• Cost of uncollected receivables

In addition, you will receive only the wholesale price of the products you sell, instead of the markup to retail. It’s up to the artist to price their line profitably at wholesale.

Wholesaling definitely has value to artists and craftspeople:        

• Ongoing business relationships and repeat business from galleries and shops
• Allows artists to realize income year-round rather than just during a retail season
• Ability to spend more studio time and less travel time, helping to avoid burnout
• This business model creates receivables, and more stability, which gives you more opportunity to work with your banker on obtaining business credit and loans
• Artists and craftspeople who own wholesale studios tend to have higher average income than those who retail only

Which is better for you?

This is a question only you can answer. The majority of artists start out selling their work at retail, which is a good way to understand the marketplace and their place in it. Moving into wholesale can be a way to diversify your business, widen your reach to audiences on a national or worldwide basis, and create another stream of income.

Some artists find that travel and time spent at retail shows can lead to a hectic lifestyle where each weekend is taken up on the road, and studio work must be done during a shortened week between shows. Others prefer to sell to the public, enjoying the higher prices they can command.

Quite often, a blend of retail and wholesale works to accentuate the positive aspects of each method of selling. You may find that using both methods creates a balance that can lead for more potential business growth.

How have you chosen to sell your work and why?

The Arts Business Institute has now launched a new E-Course titled “Marketing for Artist & Craftspeople,” a comprehensive interactive study course to help build your business.

The Arts Business Institute launches it’s first E-course, a complete Guide to Marketing for professional Artists and Craftspeople.

A recent international survey taken of almost 1,000 artists by British arts blogger Dan Johnson of Right Brain Rockstar found that some of the biggest concerns artists have revolve around making sales of their work. They don’t feel confident in their abilities to effectively market and sell what they create in the studio.

This isn’t surprising, given that making and selling art are two very different sets of skills. Just because you are talented and creative in the studio doesn’t mean that you can translate that into business practices that help you form a stable, ongoing small business. The mission of the Arts Business Institute is to educate artists and craftspeople, teaching business skills they will need to survive and thrive in the marketplace.

ABI has traditionally given intensive in-person workshops around the country in an effort to reach struggling entrepreneurs in the arts. Today, we are launching an e-course that is available to anyone, whether or not they have taken our workshops.

“The Arts Business Institute Guide to Marketing for Artists & Craftspeople” is a 133-page comprehensive, interactive business course that provides information on promoting and selling your work, specifically written for artists. We are pleased to offer professional information for anyone wanting to launch or grow their business as a creative entrepreneur. The course can be instantly accessed on your computer, with downloadable forms and self-evaluations which help you to apply these principles to your own situation.

Detailed information about Marketing for Artists and Craftspeople can be found here.

Jewelry maker Loretta Lam creates stunning designs in polymer clay. She talks about her evolution as an artist.

ABI: Your background is in working with silver and gold, but you changed to polymer clay. What was the catalyst for that?

LL: Color is my foremost creative interest and pursuit. When working in metals it showed up as experimentation with enameling but I’ve also spent much of my life painting. I was initially drawn to polymer by the color. It is like working with solid paint, direct and immediate. It allows you to blend any palette you choose, which is difficult to accomplish with enamels. And the colors don’t change after curing. You design with color in a very direct way. It’s fabulous!

ABI: How was the internet instrumental in developing your technique?

LL: I found polymer clay in 1999 and at that time there were no classes in my area. There were only a couple of books on the market which were not carried at my local bookstore. But there was a burgeoning community on the Internet. I was able to obtain all the technical information I needed to get started and to connect with others around the country to exchange ideas and information. In the last decade, the virtual polymer community has exploded worldwide, opening the door to influences and experiences we could never have imagined. It’s remarkable.

ABI: You began retailing your jewelry in 2004. How did you develop that business, and how did you begin wholesaling?

LL: After spending some time developing my artistic “voice” and honing the technical skills needed to create a first class product, I had to start learning how to be an entrepreneur. As an art school graduate, I didn’t have a clue what was involved. I took a couple of local marketing seminars and found a craft guild which was pivotal to getting my business off the ground. I quickly moved from small, local shows to large competitive fine craft shows.

But I felt the pull to take my work to a bigger audience. So I signed up for an Arts Business Institute workshop – some of the best money I ever spent on my business. With the information I received that weekend I was able to put together a solid wholesale plan and six months later I was at the “big show”. The Rosen Group connected me to mentors who filled in the gaps, answered all my questions as they came up and have become dear friends. It is a very supportive system.

ABI: How did you find your target audience?

LL: Wendy Rosen’s book “Crafting as a Business” is a fabulous resource. There is a chapter on creating a profile of your target customer/collector. Reading this book early on, I was captivated. I’d never thought of this before. Who was buying my work?

Applying myself to studying my current audience and envisioning my future buyers needs and desires, is one of my most important tasks. Thinking this way translates easily to the wholesale world. It helps identify the type of shop or gallery that will be interested in my work and where it will be successful. It informs all kinds of decisions from marketing, to product line, display and sales techniques.

ABI: Could you talk about your wholesale marketing techniques?

LL: Marketing is scary word for many artists but a necessary part of doing business. I try to practice the old adage, “Feel the fear and do it anyway.” It’s time consuming so it’s important to choose impactful marketing activities. Twice a year, I create a glossy newsletter to send to my current galleries. It keeps them informed about new items and colors for the upcoming season. I regularly spend time working on my mailing list, scouring the Internet for new prospects and then send over-sized postcards.

I have both personal and artist Facebook pages where I update my retail show and teaching schedules plus post images of new work on its way to new galleries. And I advertise. In all my marketing tasks, I direct people to my website where wholesale buyers can fill out an interest form and contact me to place an order.

Mother’s Day is almost here. Choose from these fabulous finds, handmade in America, to show how much you love that special mom in your life!

How pretty. From painter Natasha Wescoat, a limited edition canvas print of “Light and Dark” measuring 16″w x 12″h on 13″h x 19″w fine art canvas, signed and numbered.  Priced at $130.00.

Write a sweet note in this one-inch square book.  It features hand-embossed brass covers and eight hand-cut ivory card stock blank pages. Front and back covers are embossed with flower patterns, with MOM hand-stamped on the front cover.  Tied with a red grosgrain ribbon. Only $14.00 from Michelle Mach.

Cool, casual, and chic in organic cotton! Artist Amber Coppings makes hand-dyed scarves from 100% U.S organic cotton. These are low impact, low water, high colorfast fabric dyes, $36.00. Each is a unique creation. Preshrunk.

Beautiful “Golden Seahorse” by sculptor Jason Nelson, carved from Japanese Pyophyllite (AKA Wonderstone), with Quartz eyes, mounted on a Granite specimen that has some Tourmaline inclusions. 10″ x 7″ x 5″ (including the base), $600. Free shipping within North America.

Ceramic artist Sara Hunter designed this useful and pretty sea turtle butter dish, $32.00.  White earthenware clay, lead free with food safe underglaze paints and glazes. Tray measures 8″ long.

Celebrate life’s little miracles. Artist Alison Lynch offers this collage called “Each Day,” of vibrant, colorful cut and torn handmade papers in various textures and patterns on a 6 x 6 wood panel. $64 from her studio at Burnish and Brush.

Mom will love this silver floral necklace by artist Jennifer Dermer of Casa Linda Studio. The flower is 3″ in diameter and sits on a 15 strand sterling silver cable. Inspired by the works of A.R. Valentien, who was commissioned to paint all the California Native Flowers.

For Moms who are knitters, a yarn bowl could be just right! This little French cottage design is porcelain with black walnut and amber glaze, measuring 5 ½” x 3” tall, and will keep her yarn from tangling – while reminding her of your thoughtfulness. $35.00 from potter Leslie Hagen.

This top is fun and different! “London in the Rain” is a half-sleeve top screen printed by hand with an illustration by Los Angeles artist Thea Saks. 100% cotton, with an image on the back of Londontown. Snap it up for $40.00.

Surprise Mom with this Carolina Wren, perched peacefully on a fruit tree branch. Created from copper by Catherine Murphy of Haw Creek Forge, the piece is finished with a durable clear coat for use in a garden, 6” high and 10” wide and rests on a 36″ garden stake. $62.00

Bead artist Cheri Meyer offers a freeform Peyote Stitch Beaded Bracelet that Mom will love. Fits wrists between 6 ¼” to 7 ¾”, priced at $150.00. Made of seed beads, copper with brass inlaid abalone filigree, bronze, copper, turquoise, fresh water pearl and Czech glass beads.

This lovely scene will remind Mom of the seashore. Original oil and acrylic painting called “Beach Bouquet” is on primed archival paper by artist Elaine Mari. It measures 4 x 6″ and is priced at $60.00.

Dress Mom in style with this lovely nuno-felted shawl, inspired by watercolors, by textile artist Elynn Bernstein. Light as a feather and super soft, it measures 17.5″ x 80″ and can be yours to give for $250.00.

Doll collectors will love this one of a kind angel from Divine Angel Shop, $49.99. She is 14” tall, and her crepe back satin ivory dress is accented with two panels of gold and ivory fabric that match her sleeves and bodice.

Express your love with these colorful handblown glass ornaments, $75 each. They measure 6″h x 6″w and are created by Josh Ries and Todd Hansen at Art of Fire Contemporary Glass Studio.

Hand-Knit cowl neck scarf in Rust by Elena Rosenberg of Tickled Pink Knits is 100% mulberry silk. Measures 32” x 8” and priced at $120.00. Perfect for slipping on for a pop of color and just enough warmth with your spring and fall wardrobe. Wonderful for travel.

What fun! This whimsical knitted teapot with a cupcake perched on top couldn’t be any cuter. Handmade by fiber artist Leisa Rich , $275.00. In shades of pink, it’s made of recycled wool and cashmere sweaters. Inside is a sturdy wrought iron base.

This handsome obsidian glass bowl is sleek and sophisticated, and just right for her contemporary décor. Handmade in New York City by Corporan Glass, it’s priced at $1,100.00. The glossiness of the interior is balanced by the satin finish of the exterior.

Millefiore fused glass earrings dazzle with brilliant blossoms by PickleBerries, $20.00. Sterling silver ear wires.  They come in a delightful little Chinese takeout box, just perfect for giving.

Decoupage glass plate by Sharon Mooradian is 10” x 10” and can be used on tabletop or hung on the wall. With a lovely seashell motif, this piece has charm and character. $35.00.

Wow! The best card ever – and a keepsake. From Alton Weekes, this “Sparkle Flower Bloom” comes on metallic heavy weight paper bearing an orange gerbera daisy with rhinestone button. Comes with matching envelope. $20.00, in a signature black gift box.

Pretty wine goblets, handpainted with dragonfly or grapes from Kenlynn at Lucinda Gallery, $16.00 each. She uses special paint and a process which bakes the paint into the glass. Top-rack dishwasher safe.

Pet portrait artist Maggie Weakly creates whimsical paintings of Mom’s best friend. Painted on wood and ready to hang. Various sizes available – 8” x 8” personalized pet is $210.00.

Crazy-quilt heart rattles are handmade by ceramic artist Cathy Crain, $16.00 each. Measuring 4” wide. One-of-a-kind with different designs and glazes on both sides. A great conversation piece that she will love!

Make a statement with these contemporary porcelain bud vases by artist Hiroe Hanazono. Set of three, $120.00. Available from The Clay Studio, they are available in a variety of colors.

Melt her heart with this gorgeous “Daughters of Zeus” sterling silver copper necklace by artist Kristine Schroeder. Inspired by a brooch motif found in a book of Victorian jewelry, it sells for $375.00.

Check out this fun floral handbag for spring and summer, $58.00. Handmade by artist Coco Kulkarni, it has three interior pockets and comes with a vibrant silky scarf. A roomy 21” x 14”, it will be one of Mom’s favorites.

Delightful fused glass panel with Poppies motif by artist Denise Childs measures 8” x 8” and will be so pretty hung in a window. Priced at $55.00 and ready to hang.

Mom will enjoy wearing this lovely denim colored handmade woven Kumihimo bead bracelet, from Ema K Designs, $65.00. About 8 ½” long, it is made of Miyuki glass seed beads, sterling silver beads and findings.

You love orders, and especially reorders. Acquiring new wholesale accounts, closing the deal, writing that big order, working in the studio and shipping out the boxes.

But returns? Not so much.

Every wholesale studio has to deal with this issue at times, because accepting returns is part of business. Today’s consumers expect excellent customer service, and wholesale buyers are no exception. Handling returns and complaints properly is part of nurturing business relationships that you will want to keep well into the future.

Here are some ways to cut down on the number of returns, and keep your customers happy at the same time:

1.  Have your return policy written out on your line sheet under Terms, and on invoices. Make sure that your galleries know what your terms are. You may want to point this out when giving them their copy of the written order.

2.  Always ship the exact items that were ordered. Substituting merchandise, or shipping a partial order commonly leads to returns from stores.

3.  Items that are damaged should be reported to you promptly, not six months later (when they were probably broken in the store). If this occurs, you may want to take a look at the order history and the value of that account. If you make an exception to your return policy and take back merchandise that ordinarily wouldn’t be returnable, have a conversation with the retailer so there is an understanding going forward.

4.  If you have a guarantee on your work, honor it graciously. That means when a retail customer returns a piece of your work to the gallery, it may end up coming back to you. Make sure you offer to replace the item. You may find that it saves the sale, plus it makes the retailer look good when you provide a quick response.

At other times, artists may want to use returns to actually boost their business:

Offer Approval Terms. Some artists, like Sergio Lub jewelry, offer a no-risk trial period for new wholesale accounts. This is a guarantee that if the line doesn’t sell well, the retailer can return the product by the end of that period, while only paying for the items sold. It’s a great way to build confidence in new buyers and offer them peace of mind that you stand by your work – and can really boost new opening orders.

Trade Back Unsold Merchandise. There is always some merchandise that just doesn’t sell. Work with your accounts that have old product sitting around by making a trade. This method can jumpstart your line at their store again with fresh merchandise, leading to reorders. If the returned merchandise is discontinued, you may be able to discount it at retail and still make back the wholesale price.

Have you found creative ways to deal with returns that boost your business?

Glassblower Christopher Mosey founded Ignis Glass in Chattanooga, Tennessee in 2002, and has gone through a transformation with his business. Originally exhibiting at retail art shows and wholesale trade shows, he has managed to stop traveling as much, and come up with several innovative ways to sell his production and one-off glass art.

Inspired by archeology and ancient cultures, many of his glass sculptures and vessels appear as lost treasures or geodes from the earth. He mentions that he enjoys working fairly large, but economic factors have led him to scale down the size of some of his designs lately. Working with his assistant, and collaborating with other artists help to keep his designs evolving.

Production work as well as one-of-a-kind art are sold through several gallery accounts in the southern United States. He also occasionally makes personal appearances at trunk shows to help those galleries promote his work to their collectors. He mentions that galleries often seek him out rather than his approaching them, which is very satisfying.

Mosey has found another market creating corporate awards, which has become a steady stream of income. These commissioned works have helped to replace income that otherwise would take him out of the studio.

For the past six years or so, Ignis Glass has opened their studio up to the public, inviting families, corporate groups and tourists to experience glassblowing up close and in person and make their own glass ornament. He says, “People are mesmerized. Kids and parents love it.”

Advertising has produced such an overwhelming response from the public that Ignis Glass is now building a new shop near the Tennessee Aquarium in downtown Chattanooga, strictly for hosting guests who would like to learn and create glass art of their own.

Are you losing sales because your booth lighting isn’t working for you? Lighting expert David Steinitz of F.I.R.E. Ltd talks about how to make your work stand out at a show.

ABI: How important is lighting to presenting an artist’s work in  a show booth?

DS: It’s very important. Artists spend all that time, effort and money making their products look good and lighting is the thing that’s going to show it off. You don’t want to be at the mercy of the horrible lighting of a convention center. As you walk down the aisle, you will see that people will stop and look at a well-lit booth because the merchandise jumps out at them.

ABI: What is the biggest mistake people make when using their lights?

DS: They are using fluorescent lights. They think they are being energy-efficient. They are, on average, being charged for a 20-amp circuit, about $125 for three or four days – it’s expensive. That limits you to 2,000 watts of light. So in order to stretch the light out, and keep the heat down, they use fluorescents.

Most people remember flood lights (indoor and outdoor), and those lights are nothing more than heat generators. It makes for a very uncomfortable booth, so they want to do something different. They go totally to the other end of the spectrum, and they screw these fluorescents in. When I observe show setups, I see that many fluorescent lights arrive at the show broken. They have to be disposed of properly because they contain mercury and phosphorus, which are hazardous waste. You cannot just throw them in the trash can, because they must be kept away from landfills.

ABI: Fluorescent lighting really affects colors too, doesn’t it?

DS: It’s a very matte, very unflattering quality of light. The only people who have any luck with it are the jewelry people because they need the white light for their jewelry. There are better ways of doing it, but that was the old way. To that end, the 800 pound Gorilla in the lighting world is Phillips. Phillips made a public announcement in November 2011 that they weren’t going to spend any more money on developing CFLs (compact fluorescent lamps). So they’re done with it and that’s because they know that LEDs are the next generation.

ABI: What about halogen lighting?

DS: I use halogen in my own booth. What artists don’t realize is that there is an inexpensive way of doing it. The low voltage is the best way, because a 50 watt bulb at low voltage, at 12 volts, is actually producing 125 watts worth of light, without all the heat and all the issues. It’s a nice little package, so it doesn’t invade the booth. They produce virtually no heat, so it’s easy to stack them up. For a one-hundred watt flood light, I can have two 50-watt MR16’s and I’m actually producing two and a half times more light than the one flood light was producing.

New LEDs are hitting the market, and the beauty of them is that they have no ultraviolet and no infrared. They can’t damage or fade artwork. Soraa  is making them, but they are backed up trying to get them off the ground, and they will be officially announcing the product soon. We should have them at F.I.R.E. Ltd by June or July.

ABI: What about placement of lights, such as spotlights?

DS: You can’t do that with fluorescent or flood lights, because their spots are indiscernible. At the very least, a track running across the front of the booth can be used to direct the light back to a freestanding kiosk in the middle and at the beginning of your wall displays, because ideally you want to be 2 or 2 1/2 feet out from any vertical artwork in order to make these fixtures work. The other benefit of low voltage lighting is there are real spots, real narrow floods, and all different beam spreads. If you are a creative person and you choose the equipment well, you can actually dress it like a gallery in a small space and give it panache.

Keep in mind that you don’t light your space. You light the objects in your space. People are like moths – they look at the next bright area. By keeping the booth dark around the art, it leads the eye naturally to that point, and they are drawn to it.

ABI: Would you recommend experimenting with your lighting before you go to the show?

DS: Absolutely. It happens all the time that artists take their booth down, and say, “That piece of track lighting didn’t work.” Then they forget. By the next show, they are setting up and remember, “Oh, that’s right. I meant to get new lighting.” I would recommend using a space in your house and setting your booth up. Spend a couple of days looking at it. Even use cardboard cutouts where you would show merchandise. You don’t want to get to a show and discover, with a day left before opening, that your lighting doesn’t work. Then you have to change everything, and are thinking, “What do I do now?”

ABI: Do you work with artists who want a consultation and custom lighting package?

DS: Yes, FIRE Ltd. does that all the time. We are happy to work with artists, who can contact us by visiting our website at www.fireltd.com

Gallery lighting photo courtesy of 2910 on the Square.