Taking the Order

Once you’ve been approached or have presented your work to a chain store buyer, you may end up writing an order. Sometimes this order will be a one-off. For example, if the buyer loves your handmade ceramic baskets and they would make an excellent addition to Easter displays the chain is planning, you might get this once chance to make a big sale and nothing further.

Or, you could end up with ongoing orders from the chain, depending on sell-through of your line in their stores. It’s helpful to know the situation going in, so that you can plan.

Be honest with the buyer about your production capabilities. Don’t overpromise, and put yourself in the position of scrambling like mad to fill a huge order that just doesn’t make sense for your business. You can always suggest that the order be created for one regional area instead of nationally, or request to stagger shipments to stores in order to allow you to produce the quantity desired.

The Purchase Order

When buyers for national chains place an order with you, they will create a Purchase Order, with details and with a reference number. This P.O. number is crucial – if you don’t have a Purchase Order, you don’t have an order. A buyer who tells you they will get a P.O. number for you must produce this before you should consider starting production.

Use the P.O. number for your order on all correspondence or email with the buyer or anyone from the chain that you need to contact. Have it handy if you are on the phone too, because everything revolves around the number, which is trackable. Write your P.O. number several times on the outside of packages you ship, and put it on the packing list inside. This is used by receiving departments to check in the merchandise, and it will be used to pay your invoice, too.

Most of the vendors that chain stores deal with are commercial manufacturers, or importers. The more you can learn about the procedures common in dealing with chains, the better your experience will be, since you will be expected to comply with their policies. You should also receive information from the buyer after the order is place on their requirements and procedures, as well as contact numbers.

Terms

Major retailers hold a lot of sway with vendors who want to do business with them, and as the 800 pound gorilla, they often get their way. For creative entrepreneurs with small businesses, it can sometimes be a little scary getting started, but it needn’t be. Selling successfully to chain stores can transform your business and take you to the next level.

Chains don’t always demand discounts on their orders, but often do request price breaks due to volume. Know this going in. If you are willing to negotiate a better price for a large order, be aware of your bottom line and have profit built into your price so that you are making money, and enough of it to undertake production.

You may put a chain store on a Net 30 basis (which they will probably require) but in today’s world it’s not uncommon that these retailers take longer to pay. Be prepared for this.

It is also very common for chains to return items to vendors (this is across the board, it’s not just you!) If an item is damaged or broken in the store, or is returned by a customer, you might end up with a return you have to credit out.

Any questions about terms should be directed toward the buyer, or someone in their department if they are unavailable.

Joy Light

Artist Joy Light shares her beautiful collection of hand painted silks, as well as insights from her business.

ABI:  What products do you have in your collection?

JL:  Hand painted silk accessories are my metier. Within that genre I create products. My best selling item is the satin trimmed chiffon ruana, it’s like a cape but open on the sides. Its versatility makes it very popular with travelers because it can be worn for special occasions and for everyday comfort and warmth.

I have many styles, shapes and weaves of silk scarves. My silk boa is soft and fun to wear, deconstructed from a lovely triple-layered chiffon silk. Some new items include silk ponchos in two sizes and the mini-scarflette which I introduced on Earth Day 2012. I create couture fashion jewelry accessories combining my silk and prints of my silk on crystal and mother of pearl jewelry with chain, silk cord and vintage bits from my grandmother’s extensive costume jewelry collection.

ABI:  What have you learned from doing wholesale trade shows?

JL:  When I launched Joy Hand Painted Silk in 2009 via wholesale trade shows in Las Vegas and Los Angeles I learned about location, location, location. If you can afford a corner booth, take it. The additional exposure from a corner location is tremendous and well worth the expense!

I got a deeper understanding of what I call “price integrity”; how to price your items for the wholesale market. I learned how to create and distribute tiered collateral materials, collect as many leads as you can and follow-up.

ABI:  How have you dealt with difficulties in your business?

JL:  Over the 20 years that I’ve been in business, there have been lots of challenges. I started out in a small room in my house, improvising my equipment. The economic decline in 2008 taught me to develop an unshakable belief in myself and my craft, to stay focused and to do whatever it takes to keep business alive! I kept in touch with my regular clients.

I continued outreach to new and existing accounts. That kind of persistence is invaluable. I ventured into direct sales at art & wine festivals in California.

Recently a flood in my studio did major damage and interrupted my production. Fortunately, I had the foresight to have both homeowners and business insurance policies which allowed me to have the damages repaired so I could get back to work in a reasonable amount of time. The point I want to make is that it is important to review your liabilities and your insurance to assure that you, your work and your workplace are protected.

ABI:  Tell us about creating your website video.

JL:  The video on my homepage was shot in my studio with an HD video camera. The cameraman shot about 40 minutes which was edited down to create a succinct studio tour and silk painting demonstration. I did the voiceover in my kitchen!

Whether you find it exciting or even intimidating to consider selling to chain stores, it’s helpful to know how this process works. There are options for small businesspeople to work with large retailers that could be a fit for you.

How they buy

Some chains have corporate headquarters where buyers will meet with vendors or their representatives to place orders for distribution nationally, or make purchases for large regions of the country. Other times, regional buyers may be the decision makers who work with vendors.

Buyers sometimes specialize in certain categories, such as housewares, jewelry, clothing, etc. and you will need to speak with the correct buyer to present your line.

Store managers (or department managers) for large chain stores usually do not meet with vendors and place orders directly, although there are exceptions. There may be some autonomy in the buying process. You will have to determine this on an individual basis.

Other times, chain stores are actually franchises, or under individual ownership. Hallmark stores are a good example. The benefit of being a franchisee is automatically having some vendor relationships and pricing through corporate; but these owners may also purchase smaller lines of merchandise that they order from entrepreneurs like you. This can make them good prospects for artists who wholesale.

How to reach them

Trade shows. Buyers for major retailers often attend trade shows to see new products and connect with their regular suppliers. If you exhibit at a show, you may be fortunate to be approached by buyers for large retail chains.You may want to include them on pre-show mailings to attract interest and invite them to your booth.

Direct contact. Identify chain stores that you feel would mesh well with your brand and your collection, and find out names of buyers you can reach out to. These may be owner/franchisees, who would be easy to contact by calling the individual stores. In the event you are reaching out to regional or national buyers, you may be able to ask a local store manager for the contact number of their buying office.

Persistence is key in soliciting national chains. Buyers can be very difficult to reach; their time and attention is in great demand, and they may not return emails or phone calls. You may get the opportunity to reach a buyers’ assistant, however. Assistants are quite often gatekeepers, who may be able to schedule an appointment for you to make a sales call. If you already have an order from the chain, buyer assistants can be a great asset to you. Get to know them by name and work on developing a good business relationship with them.

Pursue trunk show opportunities. Occasionally, department stores and other chains will invite artists and other entrepreneurs to apply to participate in trunk shows. This gives the artist an opportunity to introduce their line to the retailer’s customers, and make sales. If your line does really well, your chances of being considered as a wholesale vendor are greatly enhanced.

Use sales reps. Reps make it their business to land store accounts. With large retailers, “national account reps” are often the people who pitch lines to the buyers and make presentations. If your small business uses territory reps, they may be able to call on chain buyers in their area on your behalf, or reach out to regional buyers.

NEXT IN THIS SERIES: How does the order happen? Read How to Sell to Major Retailers, Part 2.

Would you ever turn down a sale? Initially you might not think so. Here are some circumstances that may have you reconsidering:

Under minimum. Buyers who cannot come up with a minimum wholesale order for your work rarely turn into good, repeat customers. Sometimes this purchase is clearly for personal use, which takes advantage of you as the artist when you are seeking actual wholesale business. Even if they plan to sell your line at retail, they must create a large enough display to make visual impact. Your minimums should be set at a size to give your work a good chance to sell in the store.

Buyer wants terms and cannot produce a credit sheet. A majority of opening orders these days will be written with payment made (via credit card) at the time of shipping, but sometimes buyers are looking for Net 30 terms. They should be able to produce a credit sheet with several references. If not, ask them for the names of other artists at the show whom they do business with, and talk to those artists. If you can’t get good references, don’t extend credit, or decline the sale.

Buyer wants consignment. Do you want to tie up your inventory by shipping to a store that has no investment in your work, and where you take all the risk? There are certain times when consignment can be used as a strategy  – i.e., for specific items with an ongoing wholesale account. Be very careful and make sure you understand the pros and cons.

Buyer wants extended dating on the opening order. This term refers to allowing longer than 30 days for payment of the invoice, and is a red flag. It is used in particular industries for certain types of products, but for a small business like yours, it most likely means that they buyer has financial problems and you can count on never getting paid.

Other artists have a cautionary tale about the customer. The artist community is one of the most generous and helpful out there. Gossip can be untrue, so take reports with a grain of salt. Yet, certain retailers have earned a bad reputation for a good reason. If you want to sell to the customer anyway, get a credit card number and charge it just before you ship. Don’t ship before payment goes through.

Exclusivity issues. Turn down the order if the buyer’s gallery is located too close to another established account that has an exclusive arrangement with you. Honoring exclusivity is a must if you have an agreement, but consider carefully before you give exclusives to any retailer – and make sure it’s worth it to your business.

Oversize order. What if you are approached by a buyer for a large retailer who needs a massive order? If you simply cannot scale up your studio to produce the order in time, or do not have financial resources for supplies, etc. you could end up a loser. One small company took out a high-interest loan for materials to fill a huge order for a chain of stores. By the time the retailer paid the bill (120 days out), the interest on the loan had eaten up all the profits. The small manufacturer made nothing. Don’t let this happen to you.

Repeat offenders. If you’ve have had a bad experience with a retailer in the past, and they request a “do-over” to get in your good graces, think about it carefully. You may be able to resolve a payment issue by taking a credit card up front, but if the problem involved other bad behavior, it might be wise to decline. There are plenty of good customers out there to do business with.

Copyright theft. If you suspect the “buyer” is a scout for a company who may plan on stealing your copyrighted designs, decline the order and report this to show management immediately. It’s an unfortunate fact of life that copyright theft exists and it can be hard to fight, especially when the manufacturer is out of the country.

No financial commitment. When asked to create a special commission or do other extra work, get a deposit from the customer. If they have no “skin in the game” it’s easy for them to opt out after you have gone to a lot of trouble. Create a contract that guarantees you will retain some or all of the deposit for work completed if the deal ultimately falls through.

Outright scams.  Unfortunately, con artists out there are willing to steal from anyone, including artists. Quite often this is done through email, so you must take precautions and learn how to avoid this problem. See more about scams here.

When your gut tells you it’s a bad deal. Sometimes, you just get a bad vibe that the buyer isn’t being honest. There is nothing wrong with trusting your intuition and letting go of a sale if it just doesn’t work for you.

There are many scenarios where you may choose not to go through with that sale, order or contract. Sometimes artists are so eager to sell their work that they ignore red flags. If something seems too good to be true – it probably is.

What’s your experience? Have you turned down business? Was it a smart move?

ABI: How do you balance your production jewelry and one of a kind work?

EA: I keep a daily, weekly and monthly calendar and schedule my studio work around a rotating plan that allows for a couple of weeks of small production and limited edition work and another two for developing one of a kind pieces.

I work best by keeping a constant balance between the repetitive work (knowing what/how to do something) and the adventure of discovery and making of a new design.

ABI: You are a purist in the techniques you use. What is unique about this?

EA: The dedication to process.

Beyond the making of the end piece, I am very attached to the ‘process of making’, which informs and feeds my work and with metal one goes through a constant transformation, by melting it into the liquid form to the solid state and giving it form and shape.

I melt my own metal and alloys; I draw my own wire and pull my own sheet.

Although I do not start from scratch every time and for every single piece (yes, I do buy wire and sheet from suppliers like everyone else!), this ‘purist’ approach to making is vital and center in my techniques.

For my Twisted&Wires collection, my best selling small production line, I schedule a day just to prepare and lay out all the parts for the 20 or 30 pairs of earrings I have on schedule for that week. Things do not always work as planned, such is life, but I strive to make planning the guiding road map in my career.

I am always happy to discuss and share some of my techniques with customers and collectors; they are always amused by the explanation of my making process, and gain deeper understanding and appreciation of my work through this insight.

ABI: You have been focusing on marketing this year. What are your strategies?

EA: This year I decided to turn some much needed and ‘focused’ attention to marketing a social media and on how to implement these tools in my business. I have been allotting daily time for networking and business-based social interactions, primarily on the internet, by following marketing and artist business sites, both for learning and sharing information.

I maintain my own blog and follow a few selected ones that are closely related to my work and are of interest to me.

I strongly believe marketing to be a vital component in any business, and having only sporadically addressed this issue in the past, I am glad to be now compensating for the time lost. Key for a marketing plan is constant presence.

My simple strategy includes learning, sharing and networking with continuity to promote my work through ‘deeper and emotional’ customer connections, tailoring my posts for specific events and keeping these simple steps as a constant between my studio and office time.

How can you grow your business relationships?

- The most basic element of relationships is trust – business associations as well as friendships depend on it. Establishing trust early, and making integrity a core concept of your business is essential if you want to develop your art business.

- Presenting your work professionally gets you taken seriously, and this should be a cornerstone of your marketing. Your display, photography, website and marketing materials should all make an excellent presentation of your work. When artists skip or skimp on this, they look like amateurs. Potential customers may wonder if you are really in business, or will be for long.

- Meeting your customer in person puts a face on your relationships. This is why artist appearances, retail and wholesale shows are so important. Make eye contact and offer a warm handshake to let others know you are serious and confident. Nervous about making that appearance? Do it anyway. The more you step outside your comfort zone, the larger that zone will become.

- Ongoing contact with your customers creates relationships. This is why follow up is so crucial. Get to know your gallery owners and buyers as people as well as clients, and you will become memorable to them.  This can lead to referrals, getting testimonials and repeat orders.

- Thoughtful customer service drives relationships. Go the extra mile, even when you are not asked. This type of activity can really cement relationships. Serving your customer is a privilege – they keep you in business.

- Listening is a key component in relationships. There is probably nothing more effective in building relationships than taking a genuine interest in others.

What actions are you taking in your art business to establish that trust with potential clients?

What ongoing business practices do you use to maintain trust?

How are you demonstrating your trust in others?

Father’s Day

The elegant “Charles Pen” by Phinney Studios is hand turned using bloodwood and maple hardwoods. Priced at $65.00, it uses a standard Parker refill.

Is Dad a bowtie-wearing kind of guy? Give him this handwoven tie and scarf set from Frittelli & Lockwood, made in their studio in Saratoga, NY. Tie is shown in navy/camel/coral handwoven in silk and cotton, $75 (available pre-tied or as a self tie bowtie); scarf is mushroom/peach handwoven in bamboo/rayon/silk, $115 – size 10″ x 66″.

Give Dad an exotic wood business card holder by Creative Wood Designs by DAMI. Shown from top left: walnut, maple & bloodwood; hickory & purpleheart;  lacewood & bloodwood; zebrawood. Each priced at $30.00.

Surprise Dad with this very cool mosaic belt buckle made of recycled industrial metals including license plates, street signs, containers by artist Randi Tannenbaum, $62.00. Buckle measures 3 1/2″ x 2 3/4″. One of a kind.

Does your father dream of retiring in paradise? Give him a little piece of it now. “Kapalua” original oil on canvas 20″ x 30″ by painter Jennifer Beaudet would be perfect for home or office. Priced at $1,200.00.

Beer mugs – but not your ordinary type. These handblown glass mugs are made with pale or dark “ale” color already in them – and even have “foam” on top. Each measures approximately 7 inches tall and retails for $65.00.  Made by Todd Hansen, Josh Ries and Foster Holcombe at Art of Fire Contemporary Glassblowing Studio.

Show Dad how much you love him with this heartfelt 16 oz. coffee mug by artist Deb Babcock of Blue Sky Pottery. Handbuilt from white stoneware clay, it has textured designs and is painted with ceramic stains and a clear glaze. Microwave and dishwasher safe. Sells for $28.00, with $11.50 shipping.

Pamper him on Father’s Day with this handmade “shaving scuttle” from Moon Star Pottery. With a double walled bowl designed to keep lather warm for a sensual shaving experience. Measures 5 1/2″ x 3″ deep, it comes with complete instructions and retails for $45.00.

Does Dad love his garden? This exquisite handcarved redwood sign by artist Ron Ramsey could be just the thing to remind him of you while he’s working outside. Meaures 10″ x 22″. Sells for $450.00.

Is Dad a boater? Give him this handmade tide clock by Mesolini Studio. Made of fused glass, it features carved design and tides. In cobalt & lime with dichroic glass edge details, it uses one AA battery. $250.00 retail; instructions included.

For your man of steel, the perfect gift may be this set of cuff links made with real bullet casings from Lamplighter Jewelry. The pair measures just over 1/2″ in diameter and 1″ high, and sells for $30.00.

This handsome piece of art by Kymm Hughes of Prairie Glass Art Studio is from the “Wave Series” and is fused transparent and iridescent glass in an earthy palette. May be displayed on a table or hung on the wall. A stunning addition for his office, it measures 13″ x 16″ x 2″ and retails for $425.00.

Graduation

Unique contemporary ceramic wall art “Looking for Love” by Hawaiian artist Leslie Hagen is Picasso-inspired, and measures 9 1/2″ x 5 1/2″.  Perfect for the grad’s new apartment! Retails for $58.00.

A gift for the Math major. An old calculus book, recycled into a picture frame by Don and Carolyn Madvig of Sleeping Dogs Studio. Outside dimensions 5 1/2″ x 5 1/2″. Sealed with resin for durability. Other themes available as well, such as sheet music for Music majors, recycled foreign language books, etc. $24.00 each.

Add a little beauty to your grad’s life with this exquisite print by Kathryn Hansen, $12.00. Originally drawn in graphite, this print will appeal to any grad who loves wildlife. Measures 8 1/2″ x 11″, printed on high quality Epson photograph paper, and signed.

Handmade of glass by artist Rhoda Powers, this 4″ x 4″ glass cube holds memories. As a graduation gift, cube features the letters from the grad’s name and photos, symbols, text from childhood and hopes for the future. Stands alone, or order upcycled metal and marble base. Sells for $150.00.

Start the new grad off with this hand thrown latte cup and saucer set from potter Althea Meade Hajduk. Made of stoneware, each cup holds 9 oz. to start each morning just right. $38 per cup and saucer.

A wonderful find for the literary grad, photographer Mary Serantoni’s print “Find Shakespeare” is a photo of a Paris bookstore which is an historical landmark for literature and theatre lovers. 8″ x 10″ print retails for $30.00.

Pretty and useful, this internet password book measures a portable 4 1/2″x6 1/4″ and retails for $14.00. Made by Wanda Allen of Jade’s Menagerie. Shown is dragonfly on Washi paper, but other designs are also available.

Stunning Pilsner glass by James Gottuso is actually made of hand thrown porcelain decorated with colored slips and a shellac resist technique. Stands 7 1/4″ tall and holds 22 ounces. Sells for $70.00.

Celebrate your grad’s launch into the business world with this clever and striking business card holder, hand built by potter Lori Randall of Chi Gallery, and glazed a vibrant blue green shade. Pick this gift up for $18.00.

Gift the grad with this wheel-thrown dragon mug, made of stoneware by Lori Buff of Future Relics Gallery. Measures approximately 4 1/2″” x 4 3/4″” x 3 1/4″ and is microwave and dishwasher safe. This mug sells for $36.00.

Lian Sawires recently started a small business as a fiber artist. ABI caught up with her to talk about her experience and strategies.

ABI:  What made you feel ready to become a new exhibitor at the Buyer’s Market this year?

LS:  The Arts Business Institute workshop made a difference for me last year, with lots of practical information and developing a comfort level with what the show is actually like. This gave me a framework and confidence. I then began seeking out galleries and developed my first wholesale relationships.

Several contacts were eager to work with me on pricing to see where my prices should be. It was great to see an item go from $100 to $240 retail and sell well. Each relationship gave me confidence for the next. Some suggested I make a new item and I listened. The idea for silk scrap table runners came from a buyer. I also didn’t take no for an answer. When a contact loved my work online and didn’t like the samples I sent, I begged them to tell me why and took that advice to heart.

ABI:  How do you use upcycled materials in your line?

LS:  All of my silk scraps and teaching samples are made into handbags and table runners, even accents on vests and coats. Nothing is wasted.

ABI:  How does your business background help you build relationships with your buyers?

LS:  Having been in business myself enabled me to understand their needs and express that. I also felt comfortable with them as people. We’re all just people doing what we do. Not all potential customers are a good fit, but every relationship builds confidence and goodwill. I also joined a co-op gallery, which gave me access to other artists. I’ve got three pieces in June’s Collaborative Show and an Art Handbag show scheduled for November. This is great publicity and a good relationship and confidence builder.

ABI:  What was the biggest influence in making your business grow?

LS:  I knew early on that I wanted to teach silk dyeing to others, so while building my business I also contacted as many schools as I could about workshops and dyeing intensives. I started teaching and developing a following. This led to building a base for myself as an expert in what I do, a wonderful support in working with buyers.

I also recognized and respected the fact that I like always doing new work, and found ways to work with buyers that honors that: I make one of a kind, one of a series original art, and my buyers know this about me, so we’re all happy and know what to expect. Growing a business is not easy, but keeping at it, keeping my website and Pinterest current and email blasts going leads to consistent results.

Most artists are inspired to create art which is very meaningful to them and that they enjoy making. But that doesn’t mean that anyone will want to buy it. This then becomes a reality check.

Customers buy what interests them. If what they want to buy doesn’t coincide with what you are making, obviously sales will be lacking. The ideal situation is to love what you are making, with customers who are eager to buy from you. If that’s not the case, you must adapt and conform your product line to meet demand in order to increase sales.

Is it “selling out”?

Some artists feel they would be “selling out” by tailoring their line to what they think will sell rather than what inspires them and makes them happy. That is totally understandable. If you aren’t producing work that inspires you and makes you happy, there is little point in doing it. If you connect with an audience, they will expect consistency in your work, which means that you will need to keep using the same signature style. This can be frustrating.

How do artists resolve this?

• Create more than one collection so that you can work in different styles
• Schedule time in your studio where you can work on solely what inspires you, not what you make in your production line
• Work on product development, blending in new ideas with your existing look

Why do products sell?

Customers purchase art for emotional reasons. Knowing this, artists and craftspeople should be very aware that their product line will sell best if they make an emotional connection with their potential customers.

Making an emotional connection can help you:

• increase customer loyalty
• get more repeat sales
• charge more for your work

5 ways to make an emotional connection:

1. Tell your story. Skillfully create a compelling narrative about yourself and your work in a way that relates to how others feel and what they value.

2. Partner with a cause that is important to your customer. “Cause Marketing” is a great way to make a feel-good sale that might give your product priority over your competition. There is a section on this concept later in the course.

3. Use a photo of yourself on your website and in communications. It helps people feel that they know you, and helps you become recognizable to them.

4. Smart packaging. Your packaging tells a lot about your product. If you make a luxury item, how could you design your packaging to convey this? What images or information would you use for a spiritually-inspired object? A humorous one?

5. Talk about the benefits of your product in your marketing, and how they will make your customers feel.

Marketing for Artists & Craftspeople is a 133-page online course with comprehensive information about developing collections, pricing, building your brand, traditional and new ways of marketing. Chapters on Social Media, Networking Strategies, Getting Publicity, Working with Reps and much more. Self-evaluations, templates and six videos on many topics important for artists who want to launch or grow their small businesses. Find out more about this course here.

1. Use natural materials. This works really well with designs that reflect nature, but can also be an exciting contrast with metals, glass or other modern materials. Shown below, jewelry artist Rachel Atherley uses driftwood in her display to highlight her contemporary patterned metal earrings.

Jewelry artist Rachel Atherley’s display

2. Make visually pleasing groups. Avoid displaying items in a line – stagger them instead for a more dynamic presentation. And when grouping, use odd numbers to give a more pleasing effect.  When you allow pieces to stand out, they have a higher perceived value.

3. Display collections together. Do you make sets or pieces that work well together? Display them as such, to cross-sell and increase the sale. Who would buy only a salt shaker without the pepper? When your display shows how integral each piece is to the set and makes visual impact with it, your customers will tend to want the package. Artist Charan Sachar uses this technique well.

Ceramic artist Charan Sachar creates dynamic groupings in his display.

4. Informational cards near the display help tell the story. Use the artist’s photo, and logo. One short paragraph can share what inspires them, and makes their work really special. Artists should supply these to galleries as a sales aid.

5. Use colorways. If your handmade items make a color statement, display them in logical colorways for a greater “Wow” factor. Check out how this fiber artist grouped her scarves in a pleasing rainbow display.

This display makes greater impact with work grouped by colorways.

6. Make them touchable. Touch is one of the most important factors in making the sale. You will sell more when you display items accessibly, and encourage both retail customers and wholesale buyers to handle the merchandise. Place items in their hand if possible when showing your work to feed the sense of touch. This also encourages a sense of ownership.

7. Avoid clutter. Your work is special – respect it by giving some breathing space in your display. Take a look at this jammed jewelry case below. Nothing is given the space to stand out. It all lapses into “sameness” instead.

Too much clutter makes a display ineffective.

8. Focus on the right height. Place bestsellers in the “sweet spot” – at eye level for most shoppers.  Don’t make them stoop down to see your work, but make tables and hanging displays at a comfortable height for customers to view and handle your work.

9. Use your wall space.  Use difference surfaces and heights to show work – but don’t forget wall displays. These can range from individual pieces to walls which burst with color.

Hanging displays make a statement and invite touching.

10. Good lighting is essential. Even a great booth display is ineffective if the lighting isn’t good. Make sure you use the right type of lights and plenty of them. This can dramatize a display and grab attention, and make individual pieces of art stand out as “more important.” More great info about using lighting is here.

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Merchandising and booth display techniques can make or break a show. Order your own copy of our very popular CD on  “Booth Design and Merchandising” by ABI faculty fave Bruce Baker.