If you come upon a mysterious object, such as what I  found at this puzzlePhotos blog (above photo, from site, not my work) , you will surely wonder about its function.

But if it is a work of art, such as a painting,photograph,a sculpture, the question isn't normally asked, at least not in the same way. Ceramics has always floated in and out of the concern for whether it is functional or if it is art, (or some variation on that theme.) I would imagine that is why I get so many questions about what many of my ceramic pieces are for.

Don Bendel was my Ceramics professor at Northern Arizona University. He told this story that I get a lot of traction out of when dealing with the question " what is it for?".

(caption:Don used to put these on the top shelf of the salt kiln, toss empty beer bottles on top, creating a glaze pool)

"I got this commission for a dozen or so of my pots.
 She wanted to use them in her garden. I made and delivered  the pieces, and she thought they were great. Later, she invited me over to show me how great they fit in her garden. I was led into her garden and there were of my pieces, turned upside-down, buried up to the foot into the earth, being used as stepping stones.
After getting over my surprise, I realized that once I sold the pieces to her, they were hers to do with whatever she wanted. I then had to agree, they really did look good in her garden.” Don Bendel
  That's how I remember it.

It is not uncommon for me to relate this story when I get asked what one of my pieces is for, a  fairly common occurance, actually. Sometimes they make a suggestion, indicating how they might use it:

"Well, I could put a candle in it", or I might even suggest something "some people put a frog in the bottom and use it for an Ikebana. Of course either is fine with me. Normally I do explain that what I am really doing is looking at form and construction techniques and playing with them. Function following form. But then I usually define the vessel to them as what it in terms of function, that it is a bowl, or a vase.

It might even look good turned upside-down and used as a stepping stone in a garden!

This one does baffle a decent number  of people:

 I just bet that others (depending on the type of work you do, and maybe how easily it is categorized) get similar or more entertaining responses.

This one does baffle a decent number  of people:

Mmmm, gravy boat? In term of function, I leave it up to the buyer. As form, its what I call a two-sided bowl.

One my  favorites is when I had an 8" maquette of this piece on sale at an art fair:

Patron: "What is this for?"
Artist : "Its a band-aid dispensor" (the mouth was just about the size to hold 5 band-aids, and, well, after putting your finger in to get a band-aid, you would immediately need another one, as you cut your finger pulling out a band-aid).
The patron was very amused, (but apparently not enough to buy it ).
So, when I have a patron who wants to know, what a piece is for, I like to relate Don's stepping-stone story. It lets the patron know they are free to do whatever they want with the piece, and allows the artist to accept it too.

Caption: (Don, my sister Sheila, and me at my BFA show, circa 1981

I've been applying to the CPFA show for the past 5 years to no avail, but I have just recently been accepted.  I've heard wonderful things about this show, however I have heard being on the side street is not so advantageous.  I've been placed on Fraser street.  My work is very edgy and usually attracts a younger crowd and I seem to benefit from late hour shows that go into the evening.  I do VERY WELL at the Deep Ellum Arts Fest, 4th Avenue Street Fair, Utah Arts Fest and shows in Denver & Chicago.  I have average sales at Florida shows, mostly towards Miami area and I do average in Tampa area.  I don't do so well in older/conservative/fine art crowds.  I have lower priced originals for not-so rich young art buyers and I seem to do better in Fair-type party atmosphere shows than I do at Fine Art shows.  Though my work doesn't seem to be classified as fine art, I have won Best of Show awards at the 2011 Ann Arbor Summer Art Fair, the 2011 South Miami Arts Festival, and 2011 Highland Fest.  Anyway, I've also been accepted the Wyandotte Street Fair, which I've heard good/bad things.  I'm torn between which show to do.  My worry with the Penn State show is that I'll be on the side street and that my work won't be as appreciated as it will be in the center of the action at the Wyandotte Street Fair.  I can only choose one as they fall on the same date.  Can anyone please provide any insight on Fraser street of the Central Penn show?  Other factors include, I live in Utah and the Michigan drive is obviously much closer than the Penn drive.  The Wyandotte show goes until 11pm and the Penn goes til 8pm.  Can anyone please provide any pros/cons of either show?  Thank you so much for your help. 

- Tai

www.weirdchief.com

My work for reference to your help:

You may think that I have it out for Madison “On the Square.”  I don’t, and it may only look that way.  I have always loved that show. However, they keep making these decisions that are questionable at best and are at worst are illegal.

Now, the latest decision is they have made is to charge an additional fee on top of the booth fee if an accepted artist wants to pay by credit card.  The fee is $20 for a double booth and $10 for a single booth.  I am not a lawyer but I am somewhat familiar with credit card fees.  As I understand this, it may not be illegal to charge the fee, but all the major credit card companies have clauses in their contracts that do not allow for this fee to be charged.  They have that fee so that people will use credit cards instead of paying cash or using personal checks.   This sounds to be like an illegal practice.  And that is only my opinion.  In addition, they could get away with it, if they told artists that they would give them a $10 or $20 discount is they paid in cash, but the Madison “Art Fair on the Square” is making it a penalty to pay by credit card.

I hope that artists will question this practice and put a stop to this.

I am going to forward this to Annik Dupaty, the Madison, AFOS, Director of Events and see what her response is.

I do come up with the same conclusion that I did for the jury blog I posted earlier in the week.  JUST BECAUSE YOU CAN DOESN’T MEAN THAT YOU SHOULD. And I’m not even sure that it applies if it is an illegal fee.  And again it appears as if Annik is more concerned with the bottom line than the ethical running of an organization.

I mean't to add this a long time ago.  I've been so busy with other things that had to be done first.  I thought some of you might be interested in this show.  It is held every February in Kalamazoo, Michigan.  It is a one day show. February is a great time for something like this because people are tired of being stuck in the house and they are ready to do some shopping.

The place was packed.

The Garage Sale Art Fair is a place to sell off old stock, slightly damaged stock, or any artwork that you don't mind selling at a discount. I wanted to add it here so some of you could decide if this would be something you might be interested in for next year. 

Connie knows everybody!

The place was packed with shoppers.  I wanted to take some photos of the booths without people so you could see the set up but it was hard because there were lots of shoppers.  And they were there to shop!  When we arrived at about 10 am there was a line of people waiting to get in to the place. 

Vinnie chatting with Connie.

The artists came from all over and they had nice things to sell.  There was a good variety, too.  The show didn't seem heavy in any one medium.  As I walked around, I asked some of the artists (when I could get one not busy with a customer) how things were going.  I got good responses. 

They were buying, too

This is a show put on by Bonnie Blandford.  She has lots of people there working to keep the show running smoothly. Those workers were visible, too.  If you needed to talk to one because of a problem you could get to one within minutes.  There are drawings for cash giveaways every hour.  They also announce periodic mark downs or half hour specials.  All of this extra excitement keeps the shoppers there and ready to buy. 

We did see several AFI members taking advantage of the eager shoppers.  To name a few, there was Vinnie Sutherland, Ginny Herzog, Beth Keenan, Steven Huyser-Honig, Stan Baker (who was making a killing again this year).Who do you think would have a phone like this?

I've added a few photos.  Sorry about the poor quality.  I used my cheap little Nikon because I didn't want to carry around the good camera that is heavier.

Should I be flattered or disappointed?  As a "newbie" to the art fair circuit, I guess that I should be pleased that I have been accepted to most shows that I have applied for and I have been wait listed for a couple of really reputable shows...My question is.... does anyone know the percentage of artists that get wait listed for a show and what are the real possibilities of getting accepted once on that list?

As most of you know, I'm in Australia.  And that the art fair/show scene is rather different here - there are very few art shows in my area as most artists sell their work through galleries, shops or exhibitions.   Shows (art & craft style) that restrict to handmade are not around me either.   Consequently I have to find other venues to sell my work at and this past weekend attended:

* a preschool "shopping night" fundraiser

* an open garden weekend on a rural property 20km out of a town.

Firstly, the preschool fundraiser.   I'm all for supporting local groups and having been a past board member of our local preschool thought I'd help by going along with my jewellery to this one.   It was more like a 'table' show - in a large hall with poor lighting and tables crammed together and went for 3 hours.  Wine and cheese was available to purchase.  55 people/businesses took a 'table' about half of which ws handmade.   They had pre-sold 200 tickets and sold more on the night.   The hall was poorly situated in town but at least parking was available.

Of the handmade contingent there were two artists - one doing framed work and one doing cards and the rest of 'handmade' fell into the crafts category (children's wear, children's accessories, toys, fabric bags amongst the decent items - candles, decorated small glass items and decorated stubby holders (for keeping a beer can cold, in case you don't have them) etc., amonst the lower end. )  There were 3 others there with jewellery but mine was higher end than the others.   The poor lighting actually helped me - I was the only one to request power, so had been put adjacent to a power switch to which I connected my lights and bingo - it was like moths to a flame!  

Attendees had to pay to get in - there was live entertainment as well (although I'm very glad I wasn't up that end as there were so many people milling around no one 'shopping' could get into their stalls!)

The cost of a table was low . It was about 150km away and I didn't stay the night, so the only other cost was fuel.  I sold about 25x table fee and had lots of enquiries for custom work.

The second event was an 'open garden'.  If you don't have those over there either, these are when keen gardeners open their garden to the public to come and view.   Overseen by the Open Garden Scheme Australia, there is only local publicity and gate takings (around $6pp) are donated to a charity of choice who also runs the gate and usually the food availablity too.   I knew the owner and she asked me to come along.  Only one other person was there selling and that was a garden stall with plants and garden accessories.  

Cost was a donation to the charity (I gave $100) and I gave a gift to the garden owner as a thank you.  It was about 50min drive from home.  I knew about 10% of the people that came past since it was close to local for me.

Traffic varied from a trickle to I don't know as I was too busy to see!   I took around 20x booth fee.   In fact, the second day felt like "the good old days" when people used to buy without thinking about the price too much!  The garden stall also did well.

Unfortunately, events like this are only once a year for me, but they are definitely worthwhile.  

Perhaps you don't have many shows where you live either.   Or perhaps shows aren't giving you the returns you need.   If so, where do you go with your work that aren't the usual sort of  "art fairs" or similar ?

Welcome to the Cooper studio.  Yup, still on the topic of that summer art fair.  Who'da thunk it was so complicated, eh?

The summer art fair.  And no, we don't have to limit ourselves, it could be a fall event--we'd even allow winter if you move it indoors.  Think art festival, then it becomes season-less or generically seasoned.  However/whatever.

Today we need to talk about one of the major problems with the art festival venue.  In a nutshell?  Rampant abuse of the format.

I've looked into the history of the art fair a bit.  The original purpose was for a group of artists to show their work, sans a brick and mortar style gallery.  It makes perfect sense that the local art center or art gallery would help with that, organizationally speaking.  They often pull in a lot of volunteer work, and their mission statements tend to read like this:

Mission

Our Mission: To bring People and Art together

Our Vision: To enhance the quality of Life through Art

Our Goal: To provide communication and aesthetic appreciation of the visual fine arts, through the use of education 

(Krasl)

 Or this:

It's About the Art.

Experience collaborative, creative merrymaking at its finest.  Join friends old and new... 

 (Marion)

And this:

From a spark of love of the arts and small town life, the idea of Art on the Prairie grew with dedicated planning...

(MaryRose Gallery)

How did we get from that to a company directing a collection of 14 art fairs?  And in the off season hosting a "boot camp" to tell artists what they need to do to be art fair artists?  Average price to "show your art" there?  $479.  And then the company grows and needs to make more money, so of course, another art fair is created.  Is it about the art, or about the company needing more revenue?  Please don't tell me you need a moment or two to think about your answer. 

And of course, they are not the only culprits.  When the local school dance team needs a fund raiser, their moms decide to host an art fair.  When the town 4th of July festival isn't big enough, they add on an art fair to attract more attention and numbers.  Does it matter that they don't have a clue about showing art and their mission statement doesn't have anything to do with promoting art? 

"We can charge the artists to show us samples of their art, and make some money there, and then we can pick the ones we like to exhibit their art at our fair and make even more money there."  "We can make money, lots of money" . 

Which is all well and good for the hosts of art fairs.  But what happens when there is an art show every other weekend?  When the art fair patrons begin to see the art show as "just another art show, and we went to one last weekend so why go to this one, it's pretty much the same."?

Obviously the art fair patron is the ultimate decision maker regarding the success of the art fair.  But the artist doesn't need to be the hapless victim caught in the middle.  If you are an art fair artist, or planning on becoming one, do some questioning first:

1.  Who is hosting/directing the fair?

2.  What is their goal or mission statement?

3.  Is it business or is it art?

Think of it like this:  Is it called an art fair, or a money fair?  Whoa.  Caught you, did I?  If as artists we would chose to exhibit at events that put the art first, could we thin out the events that think of their revenue first?  

Because when the art fair host thinks "anything for a buck" it trickles down to the artist.  And when the artist thinks "anything for a buck" they start to use phrases like "cobble something together to sell next weekend/next year".  That's not good for the artist.  It's not good for the art fair patron.  Most of all it's not good for art. 

When you look at that schedule of art fairs for 2012, please, put art first.  Thanks for reading.

Later, Cooper

What size sign (banner) would you use for the front outside of a 10' x 10' canopy?

It will hang above the entrance.

Currently I'm looking at 8 x 2.5 feet. Wondering if I should go with 8 x 2 feet.

June 12, 2011

Glendale, Ohio (Cincinnati)

Booth Fee: $40.00

Jury Fee: It is a juried show, but they do not charge a jury fee.

This was my third year at the Trillium Art Fair and the third year for the fair itself. Glenwood Gardens is a beautiful park nestled back in a spot where you wouldn't expect it. It is home to many large shade trees, flower gardens and rotating exhibits – this time it is a sculptural exhibit: Big Bugs.

The show organizers do a nice job limiting the jewelry category and having a nice mix of other artists. This year there were painters, photographers, metal sculpture artists (with those cute copper garden fixtures!), handcrafted purses and of course jewelry artists, among others. It really is a nice show. There are always volunteers and park employees walking around throughout the day, distributing water and granola bars in the morning at set-up and then checking to see if anyone needs booth sitters for breaks. I usually take advantage of this because I do the majority of my shows solo, so that is a much appreciated perk!

I have been fortunate enough to have the same spot every year on the east side of the park and the shade trees in the middle really work to keep my booth fairly cool (even in last year's heat). This year, the temperature was a dreamy 80º and there was plenty of sunshine, which had lots of people out shopping. Generally I find that the majority of people shopping are actually spending too. The park is dog friendly, so there is an endless parade of furry friends all day, which I find fun. They also have a couple bands play throughout the day, which adds to the energy of the fair.

Loading and unloading can be a little tricky as you are not allowed to pull up into the exhibit space, which is grass, and there is a chain-link fence around the area. They do open large double gates at one end, so you can unload with the help of volunteers and carts. This year, artists parked down the hill away from the main parking lot and were shuttled back to the exhibit area.

Overall, this has been one of my best shows consistently for three years and I really hope to be in it again next June!

Mid-afternoon view of the show, from the Spice House

The Wells Street art festival in Chicago is usually one of my best shows. It is also one of the hardest set-ups we do. Early morning. Crowded streets. Two rows of tents down the center of the street, with food vendors blocking straight through access in the driving lane. Assigned times for artists are supposed to allow everyone at least an hour for load-in and setup before the show officially opens at 10AM on Saturday. In practice, artists find anyway they can to get their equipment in place as early as possible.

Dog's-eye view of the show

 
I've had a double booth in the same location, near the Spice House and Topo Gigio, for several years. It's a high traffic location, because of O'Briens, The Fireplace Inn and a new club, the Benchmark. The main stage is in the O'Brien's parking lot, and provides a steady beat throughout the entire show.Friday night I didn't leave Michigan until almost 10:30 PM. I had to pick up Karyn in Ann Arbor, and by the time we got to Chicago, it was about 4:00 AM. No sleep for us. I walked down Wells to see where our booth spot was -- new numbers meant that I was moved slightly south. At 4:45, I was able to get my traile and truck down to the booth, about a block and a half in. My load-in time was officially 6:45, but there is no way that I could get the trailer and truck in and out that late. I think that the show has finally realized after 40 years that some artists are always going to need early access to the show. The coordinator told me that the show director had given permission to a few artists to come in early, after a phone call. I've called in previous years and been told that it's impossible.Some artists dolly in from the northern paid lot on Wells, The Carriage Lot. Some dolly from parking spots on North Ave. Some dolly from the side streets, Schiller, Goethe and Scott. Some do bring their vans in. By 10AM, the show does get set up. It's a minor miracle, but we were unloaded, the truck and trailer parked in the paid lot at Franklin School, the double canopy setup and all the art hung, with lights, by 10AM.

My credit card machine always has trouble connecting here -- server overload with all the cel=phones and texting

Saturday was cold and drizzly. It didn't out and out rain, but it was chilly. It didn't stop the young urban professionals from crowding into the show, and buying art in the morning and early afternoon. But the temps got colder by 4PM, and the crowd slowly changed to a party mood. Lots of beer and lots of strolling. A mix of dogs, strollers, couples and professionals. I sold a few smaller pieces, but nothing large. By 6PM, most of the crowd were there to party, not to buy. My neighbors, Jean-Claude Louis, another photog with a double that looked exactly like mine, and David Bigelow, the well-known printmaker, both closed up by 8PM. Usually we'll stay open, and send some art home with new owners, but the weather put a chill into the sales. We closed up and walked down to our hotel on Clark Street. Along the way, we stopped at Panang, a friendly Thai restaurant on Clark. Good food, efficient service, and inexpensive. Since we hadn't had sleep for almost 42 hours, it didn't take long to catch a few zzz's. Luckily, we waited until we got to the hotel for that.

Jean-Claude Louis, from Agoura Hills CA

David Bigelow wins for Works on Paper -- Congrats, and well-deserved!

Sunday was bright and blue. The sun was out, and cheered me right up. We stopped at the trailer to restock, and opened the booth up about 10:15. Sunday was better for sales, but still slower than previous years. I saw a couple of previous customers, including Liz Hein, who posed for a shot with her favorite piece, "No Exit". My friend Maureen stopped by. I got to step into the Spice House for some fresh cumin and some Moroccan spices. The show provides a break room in the offices of the Old Town Merchants Association, and serves up coffee, pastry and fruit all day long. The bathroom is clean, too, but you might have to wait a minute for it. We spent a lot of time talking with David Bigelow in between sales. This year's crowd seemed much more intent on partying and being seen than in previous years. My sales reflected this, too. I did about 50% of what I did last year. Enough to pay a few bills, but maybe not enough to reflect the long hours and brutal setup.

The lovely Elizabeth Hein shows a little love for "No Exit"

 
I know that some artists did well at Wells this year. Photography was perhaps over-represented. My friend Lisa sent many of her well-designed t-shirts and tanks home with happy owners. Jean-Claude had a better show this year than last year. But all in all, it seemed to me that the energy was directed more towards having a good time than feathering the nest this year. It's an expensive show to do, when you add up all the extras. Electricity costs $150, and puts you in the middle of the show. Parking ranges from $75 to $150 for the weekend, and is definitely worth it if you have a hard-to-park rig like I do. The booth fee is average. Hotels are out-of-sight downtown, and I can't recommend the Howard Johnsons on Wells. Many stay out in the suburbs, at the airport hotels, or out in Schaumburg, which is a lo-n-n-n-n-g hike. 

Load-out is efficient. Artists begin closing at 8PM, but vehicles are not allowed on the street till all the partiers go home, which can be as late as 11PM. Many dolly out the same way they came in. Vans have a definite advantage over trailers here. Some folks rent an Enterprise van or cube truck specifically for this show. We didn't really start breaking down until about 9PM, had a couple big sales at the end to make it all right. The trailer was into the show at about 10:45, and by that time, over 75% of the artists had found a better way out. We were on the road by 11:45. A very long weekend. We can't drive the entire way back to Michigan after this weekend, so another night in a hotel is required. This year, I stopped in St. Joseph, and made the rest of the drive on Monday morning. Exhausted but happy. 

A last word: There is a lot of buy-sell here. Some is blatant, some is not. While the show says that all work must be original, some is clearly not. It doesn't matter. Bring whatever you want. At $7/pop "Suggested Donation", I'd estimate that the show grosses about $1.5 in gate fees alone. It's still fun, still unique, and one of the best parties in Chicago in the summertime.

Glad to read something about the Excelsior Art show, I see it in the midwest arts and craft guide, but know of no one who has done it. 

I had to cancel the June 18th Solstice Art show in Chippewa Falls WI due to a funeral to go to, so if any readers were there, would appreciate some info on sales, etc.  Thanks.

Entries are beginning to come in, get yours in as soon as you can for the best booth location at the First Huntley Artfest, Huntley, IL  where there is FREE parking for Artist and their RVs, adjacent to the Artfest grounds. 

visit  http://www.firsthuntleyartfair.org/  information for artist, lodging suggestions, and event map

any questions can be sent to me at  theling@firsthuntleyartfair.org

fill in the online application and then hit 'Print'  we have made it easy for you to participate in:

You know those ugly defects on tree trunks that cause homeowners to rush to their nearest arborist and remove the offending specimen?  They’re called burls, and Dave turns them into amazing artwork.  It’s a laborious, time consuming process, though much of it is hands-off seasoning and drying time, but the end result, well, see for yourself:

His goal is to create a work that looks ancient, but well preserved, like it has been dug up out of an archaeological find.  Many of the final pieces look like they contain a bone inset, but it is all wood, just finished differently.  As someone who appreciates details within nature, his work really captured me, and I am awed by the amount of time it takes to go from log to wall!  This pic gives you an idea of the work involved:

Check out his other burl work at barkbywoodsgallery.com.

• 69% of the attendees are artists, crafters, wanna-be artists and their spouses and children and friends. The artists are looking at what's being sold, what is relevant, what is new and are looking for ideas for techniques, materials, etc.
• 25% of the attendees are our "accidental" tourists; visiting the area, looking for something to do while on vacation, at a conference, etc. If it is a free event, it's a day out. Sometimes they're just there for the entertainment/music/food and the art festival is the side show.
• 1% are trying to sell the artists something - plexi card holders, advertising, web sites, etc.
  
• 5% of the attendees are actually looking for art.
  
• • most of them have a small budget and won't actually buy anything or will buy a small print or bowl or ornament
    
  • most of them don't have any room for more art
  • many of them will buy jewelry because they don't have any room for more art
    
  • some want to get a deal and want to bargain with you
    
  • and of those left...that actually know about art, want to know where you show your work, want to see your portfolio, discuss your inspiration, etc.
    
  • • only a few of them can make a decision [with their spouse] to buy something at that moment
    • even fewer have the means to do so.

• 100% of them are there to sell their work.

I am sure those of you reading this are either a Gen X or Y or knowsomeone who is through family relation, friends or workingrelationships. Most don't understand Gen X and Y's or have a hardtime relating to them. There is no denying though, they are a forceto be reckoned with when it comes to shopping. I have been reading agreat book called Gen Y Buy and it is a most fascinating read. Ifyou are curious about what direction today's society is heading,especially when it comes to retail and shopping, do check out thebook. This leads to Question 15 and want to touch on it because GenX and Y's do have a huge influence on how art fairs are run and howwe can learn from them when it comes to managing our own artbusinesses.

Question 15 – How have Gen X and Y's affect how people shop at art fairs?(How can we capture their attention too?)

Instead of going into depth about the “nature and behavior” of Gen X andY's, as I am a Gen X myself, I am going to highlight some key pointsthat I feel best answers Question 15.

1. Full Steam Ahead. We can thank the today's generation for pushingartists to create new pieces of art. With Gen X and Y's drive forseeking new and improved stuff, this carries over to their parentsand even grandparents especially when it comes to technology, homeimprovement, and decorating one's apartment or home, or evenvacation home. It isn't enough to offer one size 2D art, but postcards, note cards, even coffee table books are just one of ahundreds of examples that can be attributed to today's youngergeneration need for variety.

2. Credit Cards. If it weren't for credit cards our sales at art fairsconsiderably lower than what they are today. It is not the norm anymore to carry cash with a few exceptions. When it comes to artfairs, it is now more important that ever to accept credit cardsbecause show patrons expect it. The benefits of bringing in moresales far outweighs the minimal monthly fees or possibility ofrunning into a declined card.

3. Computers and The World Wide Web. Computers are here to stay and since theybecame mainstream, it has opened many doors for artists. Someexamples range from digital art mediums, email – an instant formof communication, social networks to keep in touch with customers orpromote ourselves at upcoming art shows, software for trackingsales, access to better raw material suppliers, to the NEW businesscard – personal art business websites. The value computers haveis immeasurable and if you don't agree, try living without one for24 hours, on a work day.

4. Word of Mouth. Granted word of mouth advertising is nothing new.However, Gen X's and Y's have taken it to an all new level. All ittakes is one Gen Yer to fall in love with something that they haveto take a photo of it and show their friends or blog about it.Within minutes that thing the Gen Y loves is now apart of a viralword of mouth advertising campaign to her friends and family. Themore art fairs and artists harness this power of free advertisingthrough social networks and other word of mouth advertising, theeasier it is to attract new customers and art fair patrons.

5. Developing Personal Relationships. There is a strong desire for those whoappreciate art, with the help of Gen X and Ys, to want to learneverything they can about art. Due to art funding in schools havingbeen cut and combining that the desire of being connected topeople, there is more of a push for artists to be more willing toeducated and entertain show patrons. Don't confuse this withcarnival type of entertainment. What I am merely saying is thepressure is now on for artists to shine revealing theirhumble/personal side, through humor or through demonstrations, aswell as uncovering the veil of what it is like to be an artist. Theone on one experience can be long lasting and turn a looker into abuyer once they learn more about you, and vice versa, and your art.

6. Charity and Causes. Charities such as breast cancer awareness, HurricaneKatrina Relief organizations and the local Humane Society are alwayslooking for donations and volunteers. Helping those who seekassistance makes us feel good about ourselves, and this plays a bigpart in building Gen X and Y's self esteem, often being the drivingforce behind these organizations. Their desire spills onto theirfriends and family members trickling into the art fair world. Thishas crept into art fairs because patrons are more likely to attend ashow knowing if there is a discount off admission if a personbrings in canned goods to support a food drive, for example. Someartists are even support their own choice of charitable organizationby donating part of their sales to that organization. This is a winwin for everyone.

I can go on and on about this topic, but to keep these blog posts “quick”I don't have all day. While there are issues artists have when itcomes to hiring Gen X and Ys and how to make items that appeal moreto them, I am hoping towards the end of this blog series I can tacklethis questions. If any of this interests you there is moreinformation in books, magazines, and other resources. Did I missanything you think is worth sharing – let us know and use thecomment button. Next I will be review the past 15 questions and thentackle the question, what does it mean when a customers says “___”? Have a great weekend !

- Michelle Sholund, www.quickcraftartisttips.blogspot.com. Check out my craft business' website –www.bythebaybotanicals.com.

I think I beat the topic of product development to the death. So lets moveonto a topic that is more lively: customer service. I don't thinkthere is a time we don't talk about customer service – good or bad.However, have you ever really thought about what customer serviceis all about and how it impacts craft artists who sell at shows?Well, now is the time.

Question #13 What is Customer Service?

How would you define “customer service”? Think about all of yourretail and restaurant experiences. A simple definition might be theattention and activity that is intended to ensure thatcustomers receive the goods and services they desire to satisfy theirneeds or wants in the most effective and efficient manner possible . However is it really that cut and dry? When you see a sales personcommunicate with a customer there is one thing that is clear –customer service is all about language, both body language as well asverbal communication. The way you stand, the tone of your voice,your facial expressions and energy level all plays into itty bittycues that signal to customers what a pleasant place to shop and wantto come back again. Don't forget that customers judge you and yourbusiness based on how you carry yourself when interacting withcustomers, its just human nature.

Although most people think of customer service as what happens during a sale,but really customer service occurs before and after the sale too.From the greeting, to interacting with the customer in identifyingtheir needs, to packaging their purchase and asking if they wouldlike to be on your mailing list before they leave is all apart ofcustomer service. It is essential to recognize that withoutcustomers we have no business. The sooner craft artists realizethis, the easier it is to transition oneself from being an artist whocreates great work to a sales person who can also sell your own worktoo. It is also important to ask yourself if you think you wouldmake a great sales person. Sales people should be bubbly, open,outgoing, helpful, insightful, and enthusiastic. If you don't seeyourself as a sales person, then you will need to hire someone orrecruit friends or family members who exhibit these qualities.

The topic of customer service is a big one, and since this is a “quickcraft artist tips” blog, I intend to devote a great deal of timeto the topic with this blog series. I'll be answering questionssuch as what do customers want, how have Gen X and Y'ers affected theway people shop, why do some customers buy while others don't, doeswhat customer say mean more than one thing, what are some tips ondelivering good customer service, and much more. If you have everwondered why sales are lacking, you can't afford to miss the nextseveral posts as it will shed light on how to improve your customerrelations skills to increase profits. Michelle,www.quickcraftartisttips.blogspot.com