So, have you always wondered what it would be like to be an artist and have your work displayed and sold across the country at weekend art shows? Here are some tips that can increase your chances of success.

1. Visit the art exhibitions first
You may not always have the luxury of visiting each and every art show before applying for acceptance. After all, if you visit before you apply, you’ll have to wait another year to participate (if you’re accepted) and most of us aren’t that patient. However, when you’re able to visit the show first and talk to the participating artists, you’ll have an idea of ​​whether or not this is a show you want to be in. Be honest with the artists you talk to and ask a few questions. Most will be happy to answer your questions if they sense your honesty and sincerity and if it doesn’t distract them from those who visit your booth. After all, they are there to show and sell their work, not to act as show researchers. With their permission, ask how long they have been doing these kinds of shows. Is it considered a good show? Was it difficult to enter? Is the fee reasonable? How is the assistance? Are the show hours long enough, too long, or just right? Was the assembly and disassembly schedule adequate? What do you like about this particular show? What’s not to like about that? Do you plan to return next year? There are a number of other questions that could be asked, but please respect the artist’s time.

Some events that advertise themselves as art shows or even art and craft shows end up with a lot of questionable “art” booths that aren’t really art at all. If the “art” show has more than its share of artists making foam rubber alligators on a hanger or rubber gun crafters, it’s probably not a high quality art show. That is not to say that there is no place for these products. There are many large festivals that draw huge crowds that have all kinds of vendors, from artists and artisans to cosmetics vendors and sausage-on-a-stick vendors. Don’t criticize these venues, just be aware that you will meet many people at these events who may have little or no interest in your art. The good thing is that you will meet a lot of people and sometimes that is what it takes to find some gems that will make your efforts worth it. I have been successful in both types of venues and have also come up short at times.

On the other hand, a juried event will raise the bar of quality of the work on display, which should appeal to an audience that appreciates more art. You can reduce the number of attendees, but those who attend may be a more “qualified” audience. By qualified, I mean that they not only have a greater appreciation for the art, but also hopefully the means to buy it if they like it.

Once you’ve determined that you want to be involved with a particular show or festival, here’s what I think is vital to your success as an artist and as an entrepreneur.

2. Have a consistent body of work
Although you may be good at every piece of art you produce, your audience of potential buyers/collectors will likely identify you with a particular theme, color, style, medium, method of presentation, etc. Show a lot of what you like to do the most and a lot of what seems to connect with people the most. A bunch of random paintings of various subjects with no distinctive style or color palette in mismatched cheap frames are likely to hold the attention of a potential buyer for a long time, even if the paintings are good. A hodgepodge of sculptures that look like they were made by ten different sculptors probably won’t enhance your reputation. This randomness does not help to identify what it is. I’m not suggesting that you never try anything new or experimental, but you should make your art memorable to get any kind of following. Consistency is the key. Check out the work of some of the most successful artists you admire. What unites your work and identifies it as your own? Matter or theme, style (the way they paint or sculpt), the choice of colors used, the size, the framing? Any and all of these characteristics may apply. Don’t copy his work, but learn from him. If you’re doing work that connects with an audience, people will look to you to buy your art, even after the show is over. It has happened many times.

3. They have different price points
Whether you choose to show only originals, limited editions, or a combination is often dictated by show guidelines. Sometimes it is completely up to you. If you have a body of work that resonates with viewers, you would obviously want to sell some of it. If you limit your bids to large, expensive original works (whatever that means to you), your potential market will be smaller and you will eliminate a number of people who might otherwise want to buy. That may be fine if your work sells for the prices you want on a regular basis. However, my experience is that having artwork at various price levels makes it possible for buyers/collectors to enjoy ownership of some of my artwork in the “now” until they are ready to move on to more collectible pieces, therefore, more expensive and profitable. . This can be accomplished by offering multiple sizes of original works, offering print or sculpture editions in two or more sizes, having some limited editions and some less expensive open editions, or even offering gift-type products such as note cards or calendars with your art reproduced. on it (if the show allows it).

While it’s true that some will never buy anything major, others may use this as a springboard to start collecting their work to the extent they can afford. Your job after that purchase is to keep these low-end buyers (as well as all your buyers) informed about you and your art through emails, newsletters, websites, newspaper or magazine articles, or however possible to let them know that you appreciate their business and hope to see them one day own some of your best art. They are more likely to want to own more of your art when you show appreciation for their purchase and know more about you and your progress as an artist.

4. Have a clean and attractive booth
There are a few generally accepted performer booth configurations that are used at most quality shows. The standard size booth is usually 10×10, which is why many awnings or marquees are made in this size. EZ Up, Flourish, ShowOff and a few others seem to be the most popular. As your inventory and sales increase, you can always add a Crew Cab space, when available. Although some brands of tents come in a wide variety of colors, a white cover is recommended. Some programs do not accept anything else. Pick the one that suits your budget and make sure it has adequate sidewalls and leg weights in case of bad weather. If you show up long enough, you will experience inclement weather.

The actual racks on which you hang your work or use as a background may be metal grid-type panels, such as those made by Graphic Display Systems, or carpet-type panels, such as those made by Pro Panels, or mesh netting made by Flourish. Get what you can afford and upgrade as sales allow. An indoor/outdoor rug or other floor covering is a nice added touch if it enhances your booth and doesn’t distract from your art.

Have a focal point in your booth, a “whopper,” an exclusive piece, or something that will stop show-goers from wanting to come in and see what your art is all about. I hang a 24×36 matted and framed limited edition of my signature piece above a custom-made credenza (which has wheels, but the wheels are camouflaged) right in the middle of my booth’s back wall. This popular image is what I most identify with as it has become my best selling print. Since I started doing this I have rarely stopped selling one of these framed prints. The credenza also tastefully displays very small pieces, such as note cards, hand-painted tiles, and a guest book for addresses and email addresses (my favorite way to contact people). Inside the credenza drawers are my change (keep enough change), ticket sales, credit card forms (you should accept credit cards for higher end items in my opinion), tape, string, bug spray, business cards and brochures, and extra. hang tags for my framed pieces. Below are unframed prints ready to restock my print rack when one sells. All of my work that is hanging is framed (with the exception of the occasional gallery canvas) in similarly styled frames with brass nameplates to enhance value and identify the title of that piece. All unframed prints are kept in clear bags that have a sticky flap to seal them and are placed on a browsing rack.

Have a toolbox to hold items such as pliers, hammer, nylon connectors, wire, tape, clamps, small broom, and other miscellaneous items you may need during the course of the show. Once you’ve shown a few times, you’ll have an idea of ​​which items are useful. Keep this and anything else that might distract from your art out of sight as much as possible.

5. Offer space to your potential customers
I have noticed that more people will walk into my booth display and look longer if I stay outside my booth until they feel an interest in my work. I try to be very attentive, but I only approach a visitor when I perceive some kind of interest, however minimal. Do not block your entrance by placing yourself and your staff or friends and family where no one can enter and look around. Even if there are two of you and you are each sitting next to each other near the front of your booth, there seems to be an invisible barrier through which visitors will not pass. I’ve seen other ideas of where artists are placed to encourage better “booth visit”, and on a booth larger than 10×10 I could see where sitting to the side at the back of the booth might work well. However, in my personal booth I don’t want my face to compete with my art. At this point, I’m just incidental to the art. I did the art and answer any questions and take the money. Otherwise, I don’t want to pry. Yes, I want the client to remember me, but first I want them to see my art. When you make a sale of any size, follow it up with a handwritten thank you note.

Showing and selling your work at outdoor art festivals is hard work that is often accompanied by some expensive lessons. However, when you finally make that connection with people who like your work and are willing to share their money to own some of it, the rewards can be great, both financially and artistically.