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This is my very first year showing my work (fine art and modern art re-imaginations on furniture) and overall has been pretty successful. Sure, there are great shows and then there are the disasters. After one particularly bad show, a friend of mine sent me this:

Sometimes people, even well-meaning people, say just the wrong thing to artists and crafters, especially at shows and festivals. So we asked our Facebook followers to tell us the top things not to say to an artist or crafter, and we got some great responses!

10 Things Not to Say to an Artist or Crafter

10. “I’ll just get my friend to make me one of those.”

9. “You know what you should make . . . ”

8. “Do I get a price break if I buy two?”

7. “I can make that myself.”

6. “Why does it cost so much?”

5. “How do you make this?”

4. “Will you donate your artwork to our event? We can’t pay you, but it will be great exposure.”

3. “My nine-year-old makes this kind of stuff too.”

2. “Kids, this is what happens if you don’t go to college.”

1. “I can buy that at Walmart for $3.99.”

I can't even tell you how hard I laughed... mostly because I have heard at least 9 of these over the year. I hope you get a chuckle out if it as well!

Last weekend was the Atlanta Fine Arts Festival in Piedmont Park in the middle of downtown Atlanta. There is no better place for a show- it's a beautiful, very welcoming park that is used daily by many in Atlanta. The show is laid out in a large circle on one side only so nobody has to compete with the artist's across for them.

There were about 200 artists this year. Load in is done very well with a specific time and a police escort. you have an hour to unload and park elsewhere and come back to set up. It was brutally hot on Friday at 1p.m. I think it was the hottest load in I have had all summer. I kept gulping down gatorade and sitting in my car to cool off...if anyone ever doubted that you can get real heat stroke/exhaustion from setting up at theses shows beware...it can happen.

I put everything in the tent and closed it up and went back to the hotel to get a shower and cool down. By the time I got there my face was bright red and my eyes were swollen shut from the sun. I thought I was being being careful, wore sunscreen...I even had one of those blue towels to bring your temp down....just goes to show you...it happens fast. But hey, I was fine.

The next morning I got up early to set up and it was overcast and misty. It rained a bit but it was just gloomy and humid....the crowds were not on our side. I really like doing this show...it's well run, they bring you lunch ( although a few more runs of cold water would be great) The crowds were light....last year their were a lot more people.. Chalk it up to rain forecasted by the news media...they laid it on thick andI think it really hurt the show.

Then on Sunday...same thing happened...overcast, chance of rain that never materialized but it stopped the crowds from coming out. It also was a Georgia Tech football weekend and various other colleges in the ares...who knows. I do know that I made double last year what I made this year and the crowds were double too. I was around wonderful artists that were a pleasure to hang with.

One, that was an acrylic painter sold one very large piece which was enough to make her show sweet. The jeweler next to her did dismally (unusual huh?) and the painter next to me did about as well as I did. I covered expenses and a bit more but the crowds trickled through and that was the reason.

Load out is as well organized as Load in and with the addition to section master's ( shout out to Donovan who was an incredible help!), I was back on the road in less than two hours. Will I do this show again? Yea, maybe it was an off year...this whole summer has been kind of off for me anyway (Spring on the other hand, was great) so, one rainy weekend won't keep me from returning.

It's a pleasure to do this show and it's one of the three shows I will do anymore in Atlanta( +Dogwood & ACC)....which has been overrun by a bunch of shows by one promoter in the last few years. Anyway...up and onward.....pray for no rain.

So my van, Fully Loaded from the last show, got stolen.  So, Inventory, Display, Tent, ETc, ETC Etc.  

Yes, thank you very much for your sympathy.  I DO appreciate it.  I'm moving on.  OH but CHECK your INSURANCE, mine covered the Van, but none of the stuff.................

So how do you feel about, Gofundme, CERF, etc in this kind of situation?  I mean, Pots are cheap, and it was production stuff not Fine Craft.  But it will cost me 2-3 shows worth of income, to replace the booth and stuff.  And I'm not swimming in Capital... ;-)

1/2 of me is, "Buck up buddy, get over it and get back to work".  The other 1/2 is "Well shoot, that's why those programs exist".  

Is my emergency enough of an emergency?  Compared to Studios burned to the ground?  Or the potter at the last show, who didn't take down her shelves and lost 1/2 her stock?

Really looking for opinions.  

Try not to hijack into Insurance, though I would love a thread on that. ;-) ;-) ;-)

Here is my proposal, for consideration by all of you, on how to change the behavior of promoters with respect to collecting and releasing data that would actually be useful to artists and crafters.  This thread is a continuation and evolution of the thread I started called “How can this be?”.

I propose that we as a group write an open letter to all art fair promoters, and post that letter on this site, with Connie’s permission, of course.  While many promoters will probably come to this site to see it, any of us would be allowed to print the letter and send it to whichever promoter we choose. The letter would be from the full AFI community (all 11,000 of us).  The letter would ask the promoter to collect and release data in the three areas we discussed in the previous thread, i.e.  (1) revenues per art and craft category, (2) attendance, and (3) ad buys.  The promoter would be asked to collect and release the data in a way that artists and crafters applying for his or her show could readily see (e.g. in the ZAPP write-up, etc.).

Promoters who meet any of the criteria in the letter would receive publicity on this site.  Any one of us could nominate a promoter who is in compliance, and they would go on a “best practices” list to be maintained here.  Promoters who meet one of the criteria would be awarded 1 star, those who meet two 2 stars, the those who meet all of them 3 stars.  Promoters would be allowed to mention these “AFI community best practices” stars ratings in their promotional literature and write-ups.

We also might want to do some things, at least initially, to give some recognition to those promoters who have the most stars.

I think this is a low-cost, low effort approach that could be a hugely beneficial to all involved, including the artists, crafters, promoters and patrons.

Whada ya’ll think?

November 21-23

The 4th Annual Mistletoe Market on St. Simons Island is produced by Glynn Visual Arts, the premier visual arts organization in southeast Georgia's "Golden Isles."  As a result of amazing growth in this fun and exciting festival, we have moved the Mistletoe Market to Postell Park, directly across the street from the Glynn Visual Arts Center.  This much anticipated kick-off to the holiday season in Coastal Georgia features a varied selection of creative works by approximately 70 artists and crafters.

St. Simons Island is one of four barrier islands on the Georgia coast, midway between Savannah, GA, and Jacksonville, FL, including Sea Island, Little St. Simons Island, and Jekyll Island.  

Postell Park was re-designed a few years ago and laid out specifically to accommodate events like this.  The one square block setting is located under majestic live oak trees, with the Atlantic Ocean a few hundred yards away, creating a unique ambiance.  

This year, as a result of the dynamic new partnership between Glynn Visual Arts and the Golden Isles Convention and Visitors Bureau, there will be more activities than ever before! In addition to the focus on creative art and quality crafts, the park will be turned into a coastal winter wonderland, complete with decorations, lights, 

One artist recently wrote:  "First show ever when I was sorry to see 5 o'clock arrive.  I'm usually hanging around waiting for the end of the day.  This time it came too quickly." 

Another artist stated:  "Everything was done well-it's our favorite show to do."

Portland, OR - August 28 & 29, 2014 
The Zapplication conferences always start off with a keynote speaker whose message extends beyond the art fairs. This year it was Russell Willis Taylor*, whose general message was, "we live in a world where the pace of change is only getting faster, yet some things, such as the enduring value of art and the unique role that artists play in our society, has not changed much in more than 2000 years. The Arts make life worth living."

Two days of speakers and workshops ensued. About 100 artists and show directors from across the country attended. Bev Ringenburg from the Cedar Key Arts Festival came the farthest. But show directors were there from S. Carolina (Artisphere), a bunch from Texas, from across the Midwest and many from the West Coast.

Here they are, the two women who manage the ZAPP system and make sure all runs smoothly for you: Christina Villa, ZAPP manager and Ruby Montana, ZAPP Program Associate.

How many show folks can fit in the elevator? On the left Bev Ringenburg, artist Kathleen Eaton, Sara Shambarger from the Krasl Art Fair and Mo Riley from the Ann Arbor Street Art Fair ...

On the left (who can help me out on her? Definitely a show director) and on the right Jenny Wright from The Woodlands Waterway Festival in Texas

Probably the most anticipated part by artists is the Public Portfolio Critique where a panel of professionals critique jury images submitted by participants

Experts presented useful information including:

• Barry Fell: Problem Solving for Events and Strategic Media Planning
• Chris Dahlquist: The Growth in the "Maybes"
• Alyson Stanfield: Websites that make sense and How to charge more money for your artwork
• ZAPP Symposium moderated by Stephen King/Des Moines, a thought-provoking session for discussing larger themes, including those in the greater arts and culture field
• Eve Connell: Content Matters, The Art of Pitching Messages and Effective Interpersonal Communication
• Creating an Art Fair Experience, presented by Patrick Flaherty/Broad Ripple Art Fair and Carla Fox/Art in the High Desert

Connie Spickelmier and Jean Schaffer from the Creative Arts League of Sacramento and Terry Adams from the Cherry Creek Arts Festival

Kelly Smith Cassidy (artist and Tahoe Art League) and Erin Hartz from Chicago's One of a Kind Show, in the background Brad Anderson and Grace Peterson from the Salina, KS, Arts & Humanities Commission

Artist Alyx Morgan who won a free pass to the conference in the AFI Birthday Party Pledge Drive.
Great to meet you, Alyx!

Many show directors: Sara Shambarger/Krasl, Patty Green from Clute, TX (starting a new show there in 2015), Kerry Murphy/Artisphere, Mo Riley/Ann Arbor Street, Bev Ringenburg/Cedar Key, Liz Runforff Smith/Artisphere and ??

*Russell Willis Taylor's presentation was exciting and thought provoking. In need of a good book to read? She recommends Daniel Pink's A Whole New Mind: Why Right Brainers Will Rule the Future.

The initial post about this article got over 1700 views on AFI, without having the article to read. Now that I have permission from Sunshine Artist to put it on my web site, I want to distribute it as widely as possible.

A link to the article on my web site with example booth pictures I've taken:
http://bermangraphics.com/blog/photograph-your-booth/

A link to download the article which can be printed out and distributed by artists and art show staff:
http://bermangraphics.com/files/how-to-take-booth-picture-larry-berman.pdf

The full article

The importance of a good booth picture
How important is the booth photo? Besides the artwork images, the booth image can easily make or break an artist's career doing art shows by keeping you out of even the shows that are considered easy to get into. Some artists spend a great deal of money having their artwork photographed but don't even think of improving their booth picture until they start an application, if they even think about it at all. Like the art images, the booth image needs to be read easily without causing the jurors to spend even an extra second understanding exactly what they're seeing. They should glance at it, consider it professional looking, and then spend their time evaluating your artwork images. For the shows that project the images, the jurors are seeing all the images simultaneously for not more than 20 seconds and sometimes closer to 10 seconds. If you don't think that the booth image is that important, attend an open jury and view your competitor’s images, or attend a mock (image evaluation) jury and listen to the critques of the jurors.

Tips on how to take a good booth image
The best place to photograph your booth is not at an art show where you don't have control over the environment or the weather. It's better to set it up for the picture at home on an overcast or cloudy day so there is even lighting and no sun streaks which might draw the juror's eyes. Make sure not to have any signs, identification, ribbons and especially no people in the booth picture. I've seen booth pictures with so many people in the booth that you couldn't tell what they were selling. When asked why, the artist told me that they thought to have a better chance of getting in if their artwork was popular. I've also seen pictures of an empty canopy because the artist didn't understand that they actually had to show their artwork in the booth picture.

Setting the booth up
The canopy must be white and all three walls need to be seen in the picture. The sides of the canopy need to be in place so there is nothing distracting showing through the booth to draw the juror’s eyes. You can shoot two walls from a corner but still need to see along the third wall to satisfy the three walled booth picture requirement. The last thing you want is to be forced to create different booth pictures for each application. The floor must be clean of debris and leaves or put down a carpet.

Arranging the artwork
If you’re photographing 2D work it’s best to take the glass out of the frames to eliminate reflections before shooting. If you have multiple pieces on each wall, line up the tops of pieces on the top row so they are all at the same top height around the booth. It makes the booth look more professional and enables the juror’s eyes to flow. And a symmetrical looking booth reads easier and looks more professional. If you use bins to display unframed art, make sure to include bin(s) in the booth picture. The booth picture needs to be representative of how your booth will look at a show. If you’re photographing 3D work and are using tables, consider hanging large photographs of your pieces to take up wall space and make the booth look fuller. Think of it as a way to show the jurors additional jury images. If you use tables with covers, make sure the covers are wrinkle free. Consider using pedestals or desks from Pro Panels or Armstrong Display. Or at least raise your table height to approximately 40 inches. If posible, don’t have objects overlapping from the camera position and make sure everything in the booth faces the camera. Consider the camera position as the juror’s perspective, not how you normally set up the booth. If your booth contains mirrors, make sure that they aren't a source of distraction when the booth is viewed by the jurors. If your mirrors are for people to see themselves when trying on accessories or clothing, remove the mirrors from the booth prior to taking the picture. If you're selling mirrors as part of your artwork, either position them to control what they reflect or (what I do in the booth pictures I edit) use Photoshop to drop a gradual gradient onto the glass.

Setting the camera
Use a tripod. It eliminates camera movement and it's the only way to check object placement from the camera angle before you shoot. Follow these basic suggestions on how to set your camera for maximum image quality. Lowest ISO and stop down the lens for maximum depth of field using either Aperture Priority or Manual exposure settings. The tripod will compensate for the longer shutter speed. If possible set your camera to Auto Bracket at one stop intervals. That will give you three exposures for each picture, one lighter, one darker and one what the built in meter thinks as accurate. When using Auto Bracketing, some cameras require taking three pictures and some automatically take three each time you release the shutter. Slightly darker images edit better than lighter images. It's easier to bring out detail in the darker areas than to put detail back into areas that are too bright.

Taking the picture
Do not use a cell phone camera. They loose detail in the highlights which can't be recovered. Understand that no matter what camera you use, your image will still need editing for it to be accurate. Shoot wider than the canopy so the walls can be squared up before the image is cropped. Shoot the back and right wall seeing along the left wall to satisfy the three wall booth rule. The back and right wall booth picture acts as a right hand book end in your image set when the images are projected. That makes it a natural movement for the jurors eyes to flow back into your image set. Leaving the tripod in position, take the memory card out and pull the images up on the computer. Take note of everything that can be changed to improve the picture. Go out and make the changes, shoot again and check again on the computer. If you’re working remotely with a friend or consultant, ask for feedback by sending the pictures while you’re shooting, not after you break the booth down.

How I shoot a booth picture
I prefer to set up my tripod so that the camera sits approximately 56 inches from the ground. I use a camera with a 28mm wide angle lens. If leveled properly, there is no distortion. And using 28mm, I can shoot from a short distance in front of the booth, especially useful if it's at a show with narrow isles. I also carry something that can be held over the lens (which acts like a lens hood) to prevent stray light from hitting it and causing flare in the picture.

Summary
A good display picture is not easy and it takes time to get it right. If the jurors are distracted and waste even a second or two noticing something out of place, you might be losing 10% of the time they are looking at your work. Be careful of an overly bright white canopy because it's human nature that our eyes are drawn to the brightest part of an image or brightest image in a presentation. Crop most of the white canopy top off and crop in tight on the sides. They only need to know that it's an outdoor picture under a white canopy and need not see the entire top to understand.

Larry Berman
http://BermanGraphics.com
412-401-8100

Funky Ferndale 2014

This year the show started at 3 on Friday. Set up begins at 7am. I know Mark has parking but we don’t utilize it – for the last 5 years we have pulled a travel trailer. We google map our shows all over the country because I get place to park anxiety…  I find businesses closed on the weekends, call & ask if we can park in their lot. We do this for this show 1 block from the booth. It’s very convenient for us, my husband has a total knee replacement.

Set up at this show is always smooth, we usually show up at 8:30am - you can drive to your space. We bring a dolly but haven’t needed it this summer. This show is “a you never know” show. You have to bring all levels of inventory. We have had the same spot for a few years and that’s because Mark Loeb is so kind to allow us to ask for the sun. In our current place the sun shines through the glass so pretty in the afternoon and all evening. That we have found increases our sales.

For the Clay, Glass & Metal show I found my spot on Google maps, saw it was COMPLETELY in the shade after 2pm. 3 days before the show, I emailed Mark after realizing where my spot was, and asked for a different spot in a specific area of the show. He, again, is not only a promoter of his shows but a fan and promoter of the artist.

He immediately found me a new wonderful space and I had a phenomenal first show! He has repeatedly never gave me “oh she’s asking for special treatment again” attitude or anything like that. That’s my fault for loving glass and the light pouring through it. We are site specific. But Mike & I appreciate him for his flexibility. Goes to show, you just got to ask even if you annoy (even though it didn't annoy him!) because it’s your bottom line.

Friday right out the get-go we sell a $475 piece. 3-8 on Friday we moved a bunch of work. Most with the $25-$60 price range, but also happy to have brought a few bigger pieces. There is a show across the street too of a street style – such a fun show to walk around and have in conjunction with the Funky. We were there 2 hours before the show started on Saturday morning to get ready – it was really cold & windy crowds were slow, but we had another steady sales day. It just goes to show you don’t need Ann Arbor crowds to have steady sales. Long as they buy’in!

Saturday night had customers until we closed the booth with most giving “uuuuh, your closing, buuuut we juuuus got here” we close up. Tell them to come back Sunday. Sunday was noon to 5. We opened up our booth 2 hours before to clean up and get ready – sales started soon after Mike had everything set up, it was before noon we had our first sale.

Mark Loeb had a breakfast for artists that morning that was nice I heard. We don’t go to stuff like that – we get up late and eat in the trailer with coffee & Rick Steves. Mark Loeb also had his crew come around and hand out waters throughout the day. I handed out Funky Ferndale flyers before the show and my square said I had %15 return customers.

There was tons of press, the news was all over the place, which we were not on! We had incredible sales right up until the show closed, actually our best Funky in 7 years. We pack up everything in our booth, zip up the walls of a boxed up booth, grab a Chicago pizza, get out of the way and go have a picnic at the trailer. Headed back at 7:30, took down with everyone down around us so we parked easily and that took 20 minutes. We pull out of our parking place in Ferndale with our 26ft trailer & slept at the Wal-Mart in Fowlerville. 

The August show reviews are in and the survey has chosen Nels Johnson's post about his nostalgic trip to the Uptown Art Fair as "post of the month" -- yet, as we all know it is dangerous out there -- follow the exploits of Nels, Bill McLauchlan and Melanie Rolfes as they escape the "jowls."

(I would have included our 4th reviewer Megan McKinnon but did not have an image of her -- hey, Megan, send me a photo!)

I was wondering if anyone has done or heard about this show?   Someone commented it snobby ?

I’m excited to announce that LeHay’s Shaker Boxes has been picked as one of the finalists for the Martha Stewart American Made Awards.

The finalist selection ended on September 9th and the on-line voting has started for the audience choice award. The nine Judge Honored Category Winners and the one Audience Choice Award Winner will be announced on October 17, 2014.
By clicking on the link you'll be taken to my entry. On the right hand side you’ll see a “Vote” button for the audience choice award; any votes would be greatly appreciated. Voting ends on October 13th 2014. Thank you for your support!

http://www.marthastewart.com/americanmade/nominee/95029/design/lehays-shaker-boxes 

Nature's Path cereals are great... several weeks ago, I picked up a box to pour a bowl and read their slogan on the back..."We're so happy our paths have crossed."

For some reason, it made me think of my attitude about art festivals, and how frustrated I have been - and how obnoxious my silent stream of conciousness had become. I cut back on shows completely.

I know I probably picked a lot of bad shows during the last few years, didn't do the research, etc... But that slogan hit me where it hurt.

I do think, on a consistent basis, that my art is great...but it's not for everyone. Not everyone can afford it. Not everyone has wall space. Years ago, I was one of those people who walked every big art festival and hardly ever bought anything.

Most of the time, people walk into my booth and say WOW. No one walks in says...you've gotta be kidding, that's not art...no one says...you're a fraud... no one says...you have no talent. What was wrong with me?

So I decided to change my attitude. I would smile at everyone who walked in my booth. I would happily answer every [dumb] question. I would let people touch my work, I would not bark at people taking photos of my work, but hand them my card and say - everything is on my web site. I would cheerfully accept all compliments, and not expect them to turn into sales. I did try to encourage people who truly seemed interested to take my work home, but no pressure.

I recognize faces I've seen before, and talked with everyone who's purchased from me before... they are my fans, how cool is that?

I smiled ALL day, both days. I thanked every buyer sincerely. I did not care how well or poorly my neighbors did. They don't make my work - we're not in competition. I did pretty well this past weekend, not gangbusters...but I got a lot of good feedback, and gave out hundreds of business cards. For me, I actually make MORE money AFTER some shows doing custom work, or selling something they saw, but wanted to buy at another time.

Now...I have to say, I have a benefactor - a spouse with a JOB. He doesn't pay for the travel, the hotel, the booth fees, etc... I do. But, he does put a roof over our heads and pay all the household bills JUST SO I can do what I love. I know we don't all have that luxury. I am grateful.

I gotta go make some tea, take my morning pills and have some cereal.

How can this be?

1. A craft show rated by Sunshine Artist as #4 in the nation based on survey-reported revenue alone is still begging for applications less than two months before the show. (Craftsmen’s Classic in Chantilly)
2. Another art show, reported by Sunshine Artists surveys to be almost impossible to make any profit at (1/3 of the respondents reported revenues of less than $2000, and almost all of the respondents reported revenues of less than $5000), is widely reported be to almost impossible to be accepted at. (Coconut Grove)

TUESDAY - SEPTEMBER 16 - 4pm ET

Around just about as long as the Internet email marketing has been pooh-poohed as "old school" and no longer relevant. Our guests Mckenna Hallett and Scott Fox beg to differ.

In 1992, Mckenna launched her own business selling jewelry. Living in Hawaii she had to figure out how to reach a much wider audience. She turned to the fledgling Internet, built a website and developed an email marketing campaign. Since then Mckenna has sold more than 40,000 pieces of jewelry to more than 200 shops. Today she continues to sell steadily to over 50 shops and galleries across the nation. 

Best-selling author, Scott Fox was in Silicon Valley as the Internet was exploding into new opportunities. Instead of pursuing his intended law career he became engaged in strategizing on how to capitalize on the new technology, starting and consulting in many e-business start ups. Today he hosts a popular online business training forum, podcasts about online business opportunities, consults on new online businesses and coaches entrepreneurs worldwide.

They are both passionate about email marketing and see it as the best way to reach others - in their inboxes. They share a commitment to helping others use the power of the Internet to design successful lives. 

We talk about:

• building and growing your email list
• integrating your website with your email marketing
• ways to manage your list and possible providers
• best practices in reaching your audience
• the top reasons for using email marketing 
• email vs Facebook and other social media
• optimizing for mobile

OK!! So maybe it wasn't the perfect show. The perfect show would pay us to be there because of all the money artists generate by coming. That's not going to happen any time soon. However, there were so many things to like about this show that it is as close to being perfect, in 2014, as a show can get. I complain a lot that shows are not like they were in the 1980's and 90's. Most of you don't know what that means because you started doing shows after 2000.

The whole time during this show, I thought we had time warped back to the '90's and not just because sales were good. There was so much to like about this show, it should be the model for all shows. I think Cindy Lerick is the best director in the country and all shows, especially the mega shows, should hire Cindy as a consultant to fix their shows. More on that later.

The SLAF is a 3 day show. Setup starts at 11 AM on Friday. The show runs from 5 PM to 10 on Friday, 10-10 on Saturday, and 11-5 on Sunday. You have to register before you can start setting up. You can register Thursday evening or Friday morning. A lot of people registered Thursday and that turned out to be a good idea.

It pays to show up the day before, at this show, and get well rested for Friday because it can be hot and humid, in Clayton in September and setup can lead right into the show start. You want to be fresh for opening. Each 10' x 10' booth has 2 feet between each booth, and two feet behind for easy access to storage. This also creates a stress free, casual, environment that puts us in a really good mood.

Contrast that with Madison where they pack people in with no space between booths and a constant subtle tension the whole weekend. Setup and take down is really easy. You can drive right up to your booth. Booths are back to back in the middle and you park against the curb leaving the middle free for vehicles to come in.

Every section has its own entrance, so, there are no bottlenecks. Also, they leave it up to artists to work it out. So, there are no problems. We do this a lot and know what to do. I hate the shows that control setup. It seems that if we are allowed to manage things, setup takes 2 hours and there are no problems. If they control things, it takes all day to get in and out. Also, the police are extremely friendly and relaxed. At lot of shows, the police act like they are doing us a favor and treat us like the street people we really are.

The show opened at 5 PM and the serious buyers came out. There was nothing for the first hour, as people perused the show and then I started selling. I almost couldn't keep up with selling and wrapping, at the same time. I couldn't believe it. That hadn't happened since before 2000.

And then... we got a text message that they were closing the show at 7 PM. NOOOOOOO!!! There was a storm coming in. Unfortunately, it only lasted for 5 minutes and it was mostly huge gusts of wind. To be fair, the radar looked ominous and there was thunder and lightning.

The worst part missed us and why take a chance. So, the decision was the correct one. Three booths blew over. This is a show where every booth was properly weighted, so, it wasn't as if the booths that got destroyed were the $200 Costco specials. I know one booth was a Light Dome.

So, Friday ended 3 hours early. Too bad. Some of the veterans, who live in St Louis, mentioned that the Friday night people only come on Friday night. So, those sales were lost. The weather was good on Saturday and great on Sunday. My sales were good on Saturday, very steady, and great on Sunday, one after another. $200-$225 is my sweet spot.

Overall, my sales were very good, not great though. I don't want anyone congratulating me for selling like "gangbusters." It wasn't like that. However, if I had a full Friday night, I might have had a great show. The significant thing, here, is that everyone had a solid show. I know that some people had great 5 figure totals but most people had solid 4 figures. Most shows that I do have a few people who do great and the rest of us barely make expenses.

Here, everyone made money.

Why do I consider this show to be so great? It isn't about the money even though it was, by far, my best show and a lot of other artist's best show financially. There are so many things that make this show the best show in the country. We can start with the fact that they limit the number of artists to 150 and that 1 in 10 get in. This insures that the quality of the work is good and that, in turn, brings out the real buyers.

There are no reproductions allowed. Everything must be made by the artist and they have quality control people who walk the show to make sure this is adhered to. I didn't see one S on a Stick go by me. Do you know how frustrating that is when it seems that everyone who walks by me has SOS? Broad Ripple had 5 SOS sellers. I will never go back to that show again. My customers do not buy SOS. It really feels good knowing that everyone who comes into my booth or even passes by, is a potential customer.

Another thing that makes this show great is that people thanked me for coming and hope that I come back next year. Do you hear that Cindy? This only happens at one other show and that is Smoky River in Salina, KS. The people who attend this show love it. They are proud of the fact that the SLAF attracts really good artists and they have a lot of quality choices.

Another reason why this show is so successful is because it hasn't forgotten what has made shows so good. It's still about the artists and the art. There are no beer hawkers, no stilt walkers, no loud music, no miles of unhealthy food booths, etc. There are some sponsor booths but they are limited. Cindy told me they turned away plenty of sponsors who didn't fit the image. Think about that one.

Parking is free and plentiful on the street. I did see parking for $5. Contrast with the money grubbers in some cities who charge $15 and up per day. And, the show is free. I guess when you don't have to pay for name brand music and other crap that passes for entertainment, you don't have to charge a gate fee and you get plenty of sponsors knocking on your door to underwrite your show because when art is the main focus, the show attracts people who contribute to the economy, people who may buy their products.

Any show director reading this should read this two or three times. It's the thing that makes this show great and is the same thing that is killing your show.

There are many other things that make this show great that I left out like the Artists Showcase, where you send a piece and it is on display in a gallery setting weeks before the show with directions to your booth. And, the great staff that works tirelessly to make the experience great, like Yehuda, who has to deal with all of us, making sure all the paperwork gets in on time. I want to publicly thank Yehuda for his time and effort.

Earlier, I mentioned that Cindy Lerick was the best show director in the country. She is ultimately responsible for all the policies that I mentioned that makes this show great. She's the one who keeps the quality of the art at a high level. She's the one who makes sure there are not too many sponsor booths and their placement. She's the one who sets the tone for this show, the one who makes this the classy event that it is.

I talked to her at length because I knew I was going to write this review and I wanted to know some things. And, btw, she will take the time to talk to any artist, not just at the show, but, during the year. Unlike other directors, she is available and accessible. I asked one simple question: Does the SLAF make money or do they lose money? After all, some shows, and we all know who they are, charge a gate fee, have up to 450 artists with a substantial booth fee, sponsors who pay to have the prime spots and they still lose money. Cindy tells me they make money.

I guess spending all that money to be a mega show doesn't pay off. I believe if you really want to be successful then go back to the roots of your show and make the art and the artists your focus. I think you should hire Cindy to consult with you to make that happen. She's proven she has the winning formula. While you're at it, bring me in, also. We can work as a team. I've done this long enough and have the training to help you make your show a success, like it once was.

January 24 & 25, 2015 
Key West, Florida
Whitehead and Caroline Streets
10am-5pm daily
100+ Artists

The Key West Craft Show, which attracts buyers from locals, cruise boats and tourists, was rated by Sunshine Artists in the top 100 shows, most recently at #45.  The 2014 show had attendance estimated over 25,000 visitors.  This show is popular with locals and tourists alike and only one block from popular Duval Street.

Since this is our 30th annual we have planned a special advertising section in a local paper that will include a two page spread with artist names and maps sponsored by local businesses.  

This is a two day juried outdoor craft festival.  This nationally recognized festival brings over 100 fine and skilled craft artists to this beautiful historic area of Key West.  Exhibitors set up along Whitehead Street from Greene Street to Eaton, and on Caroline Street through the famous Presidential Gates into the beautiful Truman Annex.  

Set among historical attractions such as Audubon House, the Little White House and Mel Fisher Museum, the City of Key West closes two blocks of Whitehead Street and another block of Caroline Street to vehicle traffic for the show.  

Visitors can leisurely browse the beautiful displays of pottery, fabric, glass, wood, jewelry and other colorful handmade works by the selected artists.

The show, in its 30th year, is sponsored by the Key West Art Center and was created to complement the Old Island Days Art Festival held in February.  

2015 application: http://www.keywestartcenter.com/2015%20Craft%20Application.pdf
2015 Prospectus: http://www.keywestartcenter.com/2015%20Craft%20prospectus.pdf

This show is run by the Recreation Department under Lynette Santurro's supervision. (It is a Zapp show)

At one time I considered this one of the best one-day shows in the midwest, especially in September.

Times have changed.  It is still a good show, a little too craftsey, but not numero uno anymore.

The show is held on a big recreation field in Upper Arlington, which is a very monied northwest suburb of Columbus.  Think Jack Nicklaus.  He is from Dublin which is just around the corner.

Ohio State is also, just around the corner.  You have great homes around the area, many filled with young to middle-agers-- a welcome demographic for artists.

A lot of these folks won't bother going to the downtown June show and instead, will gladly walk two blocks from their houses to buy art here.

I have done this show for many years since the 1980's.  I have a great following here which never hurts to have.

In the old days, one could do $2K by lunch and be at $3K at show end.

You can set up leisurely, the day before, on Sunday.  Or, wait til Monday morn and do it then.  About 50% do it one way or the other.

Most have ample storage space behind, usually some hanging space on one side.

They feed you a breakfast and also a bagged lunch--sandwich, cookie and ice water.

They have a very zealous fire department which checks to see if artists booths are properly staked down in to ground.  No weights allowed.

So here is the only rub.

Too many booths, almost 225, for too few high end buyers.  Low end price points do best here. I only saw about five large framed pieces go out of here--one of them was mine.

You don't see a lot of pros from the circuit do it anymore--sales are not there for them--they will wait for the June show. In the old days I would see photographers like John Galbo and Luciano--those were the days.

There is a lot of loving hands jewelry and pottery in the show.  A majority of artists are from Ohio, Indiana and Michigan.

I always stay at a Red Roof Inn, nearby on the river--get it on the CLC card for under $40.

I would say it is a worthwhile bet to do if you live within 6 hours of it and only want to stay one night in a hotel.

I will always go back and do it again so I can be beside Peter, the Mennonite broom-maker.  The committee takes friendly bets on what time he will sell out of his stock, usually before 3 PM.  This year he had a lot of brooms leftover, but he also brought 400 more than usual. Even Mennonites can dream large.