(Spoiler alert: The choices are small, but many. And you have to keep at it!)
Years ago, I sat on a panel of artists and crafts industry professionals, speaking on various issues and answering questions from the audience.
Near the end, an artist badgered me unmercifully, repeatedly asking me to reveal my marketing “secrets” for the entire audience to hear.
I felt extremely uncomfortable, even resentful, about the demands for several reasons.
First, I wasn’t even sure what was being asked. A list of all my marketing efforts for the past 18 months to promote my artwork? For the last 8 years? The efforts before or after 9/11, the dot com crash and the recession? Did they want to hear all my mistakes, too? Or just my successes? Did they want to hear what I learned? Or what I’m learning now?
How much time do you have?!
I was also frustrated because I had no context for the person asking the questions. I had no idea what their work is like, where they are now in their business plan (or if they even HAVE a business plan) and what they are willing to do to succeed. I had no idea what their personal, financial and professional goals are for their art/business. I had no idea who their market is and what they’ve done to target it or even identify it. How do I know what will be of use to someone else unless I understand where they’ve been, where they are now, and where they want to go?
Finally, I was confused by the assumption that I’ve figured it all out and can neatly box it up and simply give it to someone else. I’m still learning, changing, growing as an artist. I have no idea if I’m even thinking the right way about MY marketing plan. How on earth do I put all this in context for THEM?
But I also felt vaguely guilty. After all, wasn’t the panel discussion a culmination of an entire weekend doing just that?–helping others take their next step by sharing my own experiences and learning? Hadn’t I already mentored a number of people here, and at previous conferences, offering insights and advice freely? Don’t I do that daily with my blog, in my magazine articles, and in other professional development classes I teach?
So why was I feeling intense resistance to this artist’s demands?
I’m been thinking about why these scenarios seemed so vastly different, why I would respond wholeheartedly in one instance and clam up in another.
The next day, as I ate breakfast, I read an article about long-term weight loss in the April 2006 issue of REAL SIMPLE magazine. The article was called “Secrets of Thin People” by Lorie Parch. And I had my “aha” moment.
The demanding person was asking me for my “secret diet” for losing weight.
And I don’t HAVE a secret diet for losing weight.
What I DO have is results from deciding from time to time that I needed to change the daily choices I make in my diet, my activities and my attitude–to achieve a different outcome in my life.
What I feel comfortable sharing is how I got from a person who constantly made unhealthy choices, to a person who (periodically) will make consistent, healthier choices–which, as a consequence, RESULTS in me being thinner. (Er….now and then.)
I still don’t actually diet nor are all my choices perfect even now. But I’ve been successful in MODIFYING many of my choices slightly over a long period of time. And when I make those modifications, the side effects are, I lose weight, I get more fit, I lower my blood sugar and cholesterol to within healthy limits, and I walk/talk/carry myself, and care for myself, differently.
(The ONLY physical “shortcut” I’ve taken through the years is, brilliant red hair. Better living through chemicals and all that.)
I’ll share some of the professional, artistic and emotional changes I made years ago that got me where I am today professionally (with apologies to Ms. Parch for using her article for the structure.)
But for today, rest assured there are no “secrets”, no insider information that is being systematically withheld from you.
I know it feels like that sometimes…. It feels like other people KNOW what to do and when to do it.
But that’s not the case.
Success in the arts, like any other success in life, means staying the course. Staying with one course of action until it has a chance to provide results.
One thing that helps you achieve success is getting better at what you do. â
But also recognizing when to switch because it isn’t working for YOU.It means making daily choices, often small choices, that eventually… EVENTUALLY lead to big results.
Because, just like losing weight is an END RESULT of making many different, healthier life choices, being successful is an END RESULT of making many different, “healthier” artistic, professional and personal choices.
When asked for a donation for a fundraiser, ask yourself what you’re REALLY giving away.
This is a reprint of an article I wrote five years ago. My good friend and fellow artist Nicole Caulfield came across it after a discussion about artists donating artwork. It still stands today, so here it is.
A thread came up on a discussion forum earlier this week, about whether, and how, artists should donate their work to auctions for charity.
There was an earnest discussion about who donates to what, and how. But nobody pointed out the downsides.
It can cheapen your work.
For most artists and craftspeople, our cost of materials (except for gold and precious stones) are negligible. Our prices depend on our creativity, our time, our skill–and what people will pay for our work.
At an auction, what people will pay can be a disaster.
Because most people attend such charity auctions to get a deal.
If you don’t believe me, ask a gallery.
I did. They said they BEG their artists not to donate work, for this exact reason. Of course, they have something at stake–they want to represent your and hopefully be the only one in the area to represent you. But they also are vested in having your work GAIN value, not lose value.
It’s funny, doctors are not asked to contribute medical services, and teachers are not asked to donate tutoring. I’ve never seen lawyers donate free legal advice. They may do pro bono work, but that’s not what they donate to auctions. Not to say it’s NEVER done, but I’ve not seen it. I believe this says something about the perceived value of our work–because artists get hit up a LOT for donations.
“Struggling artists” (including musicians) are often encouraged to donate for the “exposure” the event will create for them. To quote Jack White, artist and author of books about the marketing of art, “Artists die of exposure.”
My personal experience shows what kind of “exposure” you are risking. Take this chance to learn from someone else’s (mine!) mistake for a change.
I donated a wall hanging to a prestigious benefit auction in Boston. The show was filled with work by well-known book illustrators. (By the way, illustrators–who make commissioned art for use in books–have already been paid for their artwork.)
I attended the event, excited about connecting with art lovers who might be intrigued by my work. It turns out it wasn’t really an art show. Ski trips, wine cases and gift certificates were also being auctioned off.
I overheard countless conversations by the attendees that distressed me. (I knew some of them and I knew how much money they made) They were chortling about how cheaply they could bid on their favorite items in the silent auction. One woman had her eye on a beautiful handmade quilt, with exquisite piecing and sewing. She absolutely loved it. It was wonderful!
She also didn’t want to bid more than $40 on it.
I left before my work came up for bids.
A year later, a couple with the winning bid on my wall hanging came to my booth at a craft fair. Okay! This was it! It was working! Now they were going to become my collectors!
Not. They’d come to brag to me how cheaply they’d won it.
They weren’t even looking for me. They’d come to the fair on a whim, for the first time. They just happened to walk by my booth and recognized my work.
My booth was full of customers. The couple told me (loudly, of course) about their experience. “We got it for $35!!”, they exclaimed. (This was a small wall hanging valued at $350.) They couldn’t believe their good fortune. “It was so beautiful, and nobody else bid on it!” They went on and on about how excited they were to get “such a deal!”
Then they left. They didn’t even buying a tie tack.
The silence in my booth was deafening.
They meant well, I suppose, but it was humiliating.
So much for “exposure”. My work had been “exposed” as being worth $35. A hall full of people had watched as my work was devalued and ignored, with a repeat performance there in my booth.
I didn’t acquire a new customer, because they didn’t buy anything else, and I never saw them again.
I didn’t even have the tax write-off for the act, because tax law clearly states ARTISTS can only write off the cost of materials in the piece. Only people who actually BUY your art and donate it can write off the full value of the work.
And I cringe every time I think of them showing off the work in their home to visitors. “Guess how much we paid for this!” they probably chortle gleefully. “Only $35!!” What a steal! What a bargain!
OUCH. NOT how I want to be remembered.
That was years ago, and I’ve learned my lesson. I now carefully consider how and when I contribute my work.
Ask any gallery that represents artists, and they will tell you the same thing. Those auctions may be dedicated to “a good cause”, but people buy for one reason–they’re getting a deal. A bargain. Is that how you want your work to be marketed?
The ONLY time I saw this work was with an artist whose work and reputation were already strong–a strong collector base already well-established. His work was in demand because he was already at full production.
His piece started a bidding war, and went for MORE than the stated value. But his was the ONLY painting out of HUNDREDS of donated works that did so. Everyone–I mean EVERYONE–else’s work went for a fraction of the stated value.
Strong words, I know. And this is not an iron-clad rule for me.
I’m much more willing to contribute money or time to a cause dear to my heart. There are a few organizations I have supported with donations of artwork.
But I’ve also learned to say no graciously.
Here are guidelines that help me narrow the field that might also help YOU.
If your aim is to gain “exposure” (and I’ve already cautioned you how this can backfire), then at least donate something people will SEE. Now, if I donate anything, I donate jewelry, because at least someone will WEAR it. If it generates comments, perhaps the person will rave about the piece instead of raving about how cheaply they got it…
I pick fundraisers I care deeply about. And I let them know I’ve made an exception for them because of that. (This also controls how often my work is seen at charity auctions.)
Better yet is to suggest a CUSTOMER donate your work.
Or to offer to donate a portion of your profits to the cause. I’ve made special pieces with this in mind. I displayed them with a sign saying, “Profits from this pin are donated to such-and-such organization”. This is win/win–for you, for the charity, even for the customer. Your work holds its full value, the charity gets its donation, the customer gets to participate.
Or donate something free WITH PURCHASE. A free bracelet with the purchase of a necklace. Or a free sculpture with the purchase of a wall hanging.
Or offer a ONE-TIME discount. Bruce Baker, speaker and writer on the business of craft, cautions that customers tend to view even “one-time” discounts as PERMANENT discounts. I tried it once, and he’s right. But it’s still an option.
At the very least, offer to provide the item for your wholesale price. That is, the charity acquires it for what a store would pay for it. And set a minimum bid. More and more art organizations are using this model for their auctions, because it’s more artist-friendly. One person from such an art org confided in me, “We realized that saying we supported artists, then constantly asking them to donate work, was a contradiction of our mission statement!” Yes.
How do you say no to such requests graciously?
Tell them you get asked so often for such contributions, you now contribute once or twice a year to carefully-considered causes. You consider all requests, then make your decision in….pick a month or two. Say, June and December. And you are very sorry, but you’ve already made your decision for the year.
If you like the organization, ask them to submit a request in time for next year’s selection process.
Buy an ad in their event program. It will get you the same exposure and you won’t be donating your work at bargain prices.
Or send them a check. At least that’s tax deductible.
Tell Me A Story: Novelty
by Luann Udell
This post is by Luann Udell, regular contributing author for FineArtViews. Luann also writes a column “Craft Matters”) for The Crafts Report magazine (a monthly business resource for the crafts professional) where she explores the funnier side of her life in craft. She’s a double-juried member of the prestigious League of New Hampshire Craftsmen (fiber & art jewelry). Her work has appeared in books, magazines and newspapers across the country and she is a published writer. She’s blogged since 2002 about the business side–and the spiritual inside–of art. She says, “I share my experiences so you won’t have to make ALL the same mistakes I did….” You should submit an article and share your views as a guest author by clicking here.
Remember, to ordinary people, We are the people who ran away to join the circus.
Use the magic.
We humans love the odd and the curious.
The Guinness Book of Records. The story in your local newspaper about the calf born with two heads or the gardener who grew a monster-sized squash. The Discovery Channel’s Dirty Jobs TV program with Mike Rowe, who volunteers to try out the nation’s dirtiest, most disgusting work. And P.T. Barnum’s famous (or infamous) sideshow attractions. The proverbial “man bites dog” (vs. the boring and predictable “dog bites man”) stories.
What’s at the root of all these?
Although many of you have been inspired by this series of articles on using news values in your marketing, I know some are unconvinced of their value, and grumbling on the sidelines.
I know if some have protested the value of using sex and romance as a story hook, the idea of using novelty in our self-promotion (press releases, artist statement, advertising, etc.) will make them grind their teeth. I can hear it now….
“I’m a serious artist! I don’t want to even be considered in the same (news) ballpark as giant squash and weirdo publicity stunts!”
You—and I—are proud of our business skills, our hard-won credentials, the prestigious exhibits our work has appeared in—and rightly so. We’ve worked hard to get to where we are today, and we want to be taken seriously as artists.
We aren’t some ‘novelty act’ scrounging for a sound bite on the radio or conniving for a mention in the ‘weird news’ section of the newspaper.
Maybe. And…maybe not.
Consider this: In other people’s eyes, our very existence is the novelty.
I’ve sat through many, many seminars conducted by nationally-known speaker Bruce Baker, who talks about displaying and selling art and fine craft. Bruce is a compelling and entertaining speaker who’s spoken to tens of thousands of artists over the years, sharing his insights and observations on marketing. He has a knack for turning a phrase, and one of my favorites is this one:
“Above all, you as artists and craftspeople must remember: To the ordinary public, you are the people who ran away to join the circus!”
He means that our customers, the general public, and yes, sometimes our mothers, think of us as odd and highly unusual people. We didn’t grow up to be insurance salesmen or doctors or shop clerks or teachers. (Or, if those are our ‘day jobs’, they don’t completely define us.)
We are wild and crazy artists.
Oh, yes, we may be successful at what we do, and we may be as disciplined as a brain surgeon when it comes to refining our skills; we may be as focused as a CPA about our bottom line; we may be as dedicated as a teacher and as creative as…well, an artist.
But we did something most people only dream about—we ‘ran away’ from the ordinary life, and did something wonderful.
We work for ourselves, not a corporation or a boss. We set our own hours, create our own practice, follow our own professional goals.
Every day, we create something astonishing out of simple, common materials: A little paint, a few pencils, a glop of clay, a piece of wood.
We make something that looks so real, you want to reach into the canvas and stroke it. We create something that wasn’t there before, perhaps not even imagined before. Our work is found throughout human history, from the earliest dawn of prehistory to the newest 3D movie magic in the theater.
Sometimes the meaning of our work is crystal clear, at times so mysterious others can only guess at the story. When our work is good, it can transport people to another time, another place, another attitude, a deeper understanding and appreciation of their world.
It’s like we’re magicians. It’s like we’re…circus people! Off in our own world, traveling from show to show, creating marvels and miracles, and leaving our mark in people’s homes, in public places, in museums.
We ARE the novelty.
Put some of that magic, that awe, that suspension of belief into your writing. Use the special!
Now, of course, there are more ordinary uses of novelty. (A strange sentence, yes?) Perhaps, even among artists, you are different.
You may grind your own paints or use egg tempura in your murals.
You may specialize in painting airplane nose cone art, or balloon animal art, or other esoteric subject matter.
Perhaps, like Andy Goldsworthy, you’ve pioneered or popularized an unusual or ephemeral art form.
Or you’re the sidewalk artist who incorporates striking optical illusions in your chalk paintings.
Maybe you were an early adapter of the ATC (artist trading card) phenomenon, or the Painting a Day movement. What caught people’s attention was the novelty of the idea, the discipline of daily creation, the accessibility of small works and the (initially) low prices of such work. And, of course, the new idea—the novelty—of being able to view and trade or purchase such works on EBay.
Scratch the normal surface of what it is you do, and how you do it, and why you do it, and see if novelty is a story hook worth your consideration.
And even if it isn’t, understand that you yourself are also a novelty.
And I mean that in the nicest possible way.
If someone else thinks you’re special, it must be true!
Another article I wrote for Fine Art Views, on using story hooks in your press releases and promotional literature….
Tell Me a Story: Eminence
by Luann Udell
Prominence and eminence as news values baffled me when I first read about them. Think of ‘prominence’ as people who are celebrated for whatever reason, and how they are connected to you. And think of ‘eminence’ as honors/celebrity bestowed on YOU. […]
Read the rest of this article at:
This excerpt appears courtesy of FineArtViews Art Marketing Newsletter by FASO,
a free email newsletter about art, marketing, inspiration and fine living for artists,
collectors and galleries (and anyone else who loves art).
For a complimentary subscription, visit: http://www.fineartviews.com
I’m reprinting this article I wrote on June 2, 2005, because it bears repeating. (And because it’s so hard to find on my old blog at RadioUserland…)
I’m doing a series of articles at Fine Art Views, an art marketing blog I write for. I realized this post is still timely when talking about marketing our art.
CHARIOTS OF FIRE and the World Batik Conference
In a few weeks I’ll be presenting a speech at the World Batik Conference at Boston College of Art.
I’m speaking on self-promotion for artists, specifically the art of press kits and press releases.
The time is limited, and the message must be succinct. I asked one of the organizers what she felt I had to say would be the most value to their audience.
She didn’t even have to think about it. She said, “In other countries, there is a huge cultural bias against putting your art forward, of appearing too proud of your work. It’s seen as bragging or being boastful. People have a difficult time thinking about promoting their art and themselves. Can you address that?”
I’ve been thinking of it ever since. It’s not just artists in some other countries who have that bias.
It can be very hard to convince most people—especially women, especially artists—that it is not only desirable, it is essential we put our art out into the world at every opportunity. That it is not a selfish act, but an act of generosity.
In fact it is the greatest gift–the ultimate gift–we can make to the world.
My favorite line from the movie “Chariots of Fire” is when the missionary/runner Eric Liddell explains to his sister why he will indeed compete in the 1924 Olympics, though it seems to conflict with their religious goals and plans:
I believe God made me for a purpose; but He also made me fast. And when I run I feel His pleasure. To give it up would be to hold Him in contempt; to win is to honor Him.
When we are given a gift, we must remember that the pleasure the giver gets is anticipating and enjoying the pleasure the gift will give us.
To renounce the gift, to deny its potential, is to ultimately negate the spirit in which it was given. No good comes of that. Love, real love, is not served by that.
I truly believe it is the same with the gifts we are born with. Whoever/whatever you feel is the source of that gift—God (by any name or names), nature, DNA, random chance, the Force. It appeared in Y*O*U. It’s part of what makes you…you know…YOU.
And note that the gift may not simply be what we are good at, but what gives us joy. Don’t confuse talent with passion. They may both be involved in the gift. But what really drives our watch is not the precise movement of the second hand but the spring inside. (Or the battery. Or the electricity coming through the cord. Oh, never mind….)
Find what you are put here on earth to do. Find what gives you joy. Do it, and share it whenever possible with others. Tell it to the world. Show us. Don’t even pretend you know what ripples it will make, or how it will all play out—we can’t know that.
But know that whatever creative force in the universe you celebrate, will be pleased.
Making the Most of Your Open Studio
by Luann Udell on 10/14/2010 10:08:54 AM
With permission from Fine Art Views, the art blog I write for, I’m reprinting today’s blog post here on MY blog! :^)
This post is by Luann Udell, regular contributing author for FineArtViews. Luann also writes a column (“Craft Matters”) for The Crafts Report magazine (a monthly business resource for the crafts professional) where she explores the funnier side of her life in craft. She’s a double-juried member of the prestigious League of New Hampshire Craftsmen (fiber & art jewelry). Her work has appeared in books, magazines and newspapers across the country and she is a published writer. She’s blogged since 2002 about the business side–and the spiritual inside–of art. She says, “I share my experiences so you won’t have to make ALL the same mistakes I did.” You should submit an article and share your views as a guest author by clicking here.
I just finished a two-day open studio event, as part of a group that began a few years ago here in New Hampshire. I’ve done other open studios, on my own and as part of larger groups. This particular one is a good one to consider for what works and what doesn’t; we’re a small group (25 artists) and we’ve built it from scratch. It was our third tour and we finally started to see the results of all our hard work.
In the past two years, I felt fortunate if I made enough sales to meet expenses. I had to find other ways to value the experience beyond sales.
Of course, there’s the reward of having a clean studio. In the two weeks I deep-cleaned my space, I finally found all my scissors. And discovered I have not one, not two, but FOUR paper cutters. (Yes, I gave one away.)
I’ve come to appreciate the emotional rewards of hosting such an event. It can be a great way to thank current customers—they love an invitation to see you in your little world!
I discovered the joy of sharing my space with a compatible artist and friend. We tag-teamed the set-up, food and demonstrations. The good energy we created was palpable.
I found new collectors, and met more people who support what I’m doing. I reconnected with long-lost friends and made new ones. A small get-together is planned for like-minded stamp carvers. A defunct artist support group now plans to get back together.
There’s no single right way to have an open studio, of course, and some people prefer not to do them at all. Sometimes our galleries encourage these events, knowing that creating that relationship between artist and collector will benefit all concerned. And sometimes our galleries don’t like it at all.
Here are some thoughts on what worked for us and how to keep everybody happy. It’s not comprehensive, but it may give you insights on aspects of planning that are often overlooked.
Feel free to add your thoughts and share your experiences, too!
It takes time.
You might get lucky and have a stellar event your first time out. I did in years when money was flowing more freely. Nowadays, it can take time. Sometimes you just have to keep doing an event until it gains momentum. That seemed to be the case with our tour.
Piggy-back on another tour/event/holiday.
There’s another more established art tour in our area that runs on the same weekend. Some of their members were miffed we did ours the same time. Others were thrilled. They knew that more options generates more opportunities. Yes, some of their “frequent fliers” tried our tour this year—some of these visitors said they simply wanted to try something new. Next year, our “regulars” will surely try theirs. It’s win/win for everyone.
We also picked a popular regional holiday weekend (Columbus Day) which is perfect for enjoying the fall foliage in New England. People are out and about and looking for things to do. “What a beautiful vista…. Hey! There’s a sign for an art studio tour. Let’s go see some artists!”
Which brings us to…
Marketing is important.
Our signs brought a lot of people in. We had great advertising, too, and snagged some good publicity (free!) in the form of newspaper articles, too. But signs hammer the point home. My husband drove around the area that weekend for a rock climbing venture. He commented that he saw our signs everywhere!
We tried to save money by making our own signs. They are eclectic and fun. But they’re not holding up well and a good wind knocks them off their pinnings. We may end up having signs made commercially—more money, but also more durable. If local politicians running for office can have decent signs, we can, too!
Create a great brochure and an excellent map.
We’re lucky–one of our members had these skills. He designed a lovely brochure using the theme and the rich colors of autumn to tie us all together. It’s bold, bright and professional-looking. He found an extremely affordable online printer and we placed them in key locations all over the area. I heard many compliments about our brochure. It just made us look like we really knew what we were doing! (I’ve included images of it. Forgive my lack of photography skills with glossy paper…) (I forgot to show the map. Trust me, it’s there!)
Tip: Targeting your audience gives you the most bang for your buck. I do a big retail show a month before the tour. I gave every customer a brochure with their purchase and offered them to anyone who expressed a wish to see my studio. Each and every one was delighted with this “personal invitation”. And a lot of them came, too. (I was touched by the collectors who couldn’t come and called to let me know—just as if they’d been invited to a party!)
Work with your galleries.
Some artists have a local gallery that represents them. One particular gallery is not happy when artists sell directly to customers. They believe all sales should go through them. If this happens, try to work out a compromise that keeps everyone happy. One artist only shows and sells work for the open studio that is not in the gallery. This can be work from a different series that’s not compatible with the gallery’s client base, or smaller, lower-priced work (the gallery doesn’t carry her miniatures, for example) or even unframed pieces. They are also more willing to let her sell for very short term events, like our local Art Walk.
You’ll also be wise to never undersell your gallery. That’s almost guaranteed to lose you your place with them. Instead, try the different series/smaller pieces/work-they-don’t-want-to-carry approach.
If your protesting gallery is a major account for you, you might even consider offering them a commission on the work you sell during this event.
Create groups within each location.
Your current customers may feel fine coming to your studio already. New visitors will feel much more comfortable if you have more than one artists in your location. It’s just human nature—multiple options make people feel they’re sure to find something/someone they like! Artists who double up (or even three or four) in a studio consistently report more visitors and more sales than lone artists.
I shared my studio with my friend and fellow artist, Nicole Caulfield. Her work is excellent and appealing, and her personality is, too. We love each other’s work and that showed in the energy level here all weekend. People commented on how wonderful it felt in our space, over and over.
Grouping artists together also allows you to grow your artist list without expanding your tour. We wanted people to visit “all 25 artists” on our tour and created a contest to encourage that. In reality, it would be impossible for someone to do that in two days.
Some folks in our group are talking about limiting the number of artists for that reason. But you want new faces on the tour because…..
….People love the new. They want to see new artists, new work, new studios. I’m going to suggest to our group that we allow new artists to join a current participating artist in their studio for a year or two. That will allow us to grow our artist list slowly, without adding more stops for a few years. (We’ll be able to reuse our “studio number” signs for a couple years, too!)
Jury your artists (or at least know the quality of their work) for a consistent tour. But don’t worry about having only “proven sellers” on your tour. We have both big names and emerging artists on our tour. People love to see artists at all stages of their careers.
Create variety in your stable of artists, too. Some people get picky about what is “art” and what’s not. By adding a few woodworkers, a potter and a jewelry artist to the tour, we created more buzz for the tour and offered something for everyone. (Why do you think fine art museums have gift shops?)
Let your friends and current customers know. And use social media, too.
I used to do a full postcard mailing for these events. Last year, I finally created an email group for my customers, supporters and friends. A few weeks before the event, I did an email blast and a couple Facebook announcements. I added photos of my studio and images of new work.
I’m always astonished at the folks who can barely tolerate children in their booths or studio. It’s true, usually people with kids are too busy with the kids to actively shop. But it allows people to come who otherwise would have to hire a sitter. We found little things for kids to do and enjoy. Not only were parents and grandparents grateful, I think my friend lined up a few portrait commissions. (She captures children beautifully in her work.)
And tell yourself you are laying the groundwork for a future generation’s appreciation of art and craft.
Remember to have fun.
In our culture, where money is often the measure of our success, it’s good to remember that an open studio doesn’t have to be just about the sales. Yes, I want my work to sell. But I also value the relationships I have with my collectors. At my open studio, they are my guests. Treat your open studio as a way to thank your loyal supporters, consider sales the gravy, and you will never be disappointed.