LA area workshop on selling crafts to galleries

Cool, and thanks for the heads-up. I've got a show in Claremont the day before, but I just might be able to make it to this presentation.
 
Vaughn, you can find the campus map on this web page:
http://cms.cerritos.edu/campus-guide

Parking on the weekends should be free. It was free two years ago when I took a class. You might want to call campus parking/police to confirm.

The Wood manufacturing technology building is pretty close to the Health Science building. They usually have Sunday classes until 5:00PM. I think you should take a peek if you decide to attend the workshop. Do look at their DC behind the WD building.
 
Well, despite running late and dealing with freeway traffic, I made it to Claremont College and attended the presentation Sunday. (Thank goodness for Internet-connected cellphones. I got to the college and couldn't find the right building, so I pulled up the college's website and found the campus map. I got to the presentation a few minutes late, but there were still a number of people streaming into the lecture hall after I got there.) The workshop was very interesting; I picked up some good insights and had a few other observations confirmed.

As mentioned in the PDF file Mohammad linked to, the presentation was by Carol Sauvion, who's the owner of the 28-year-old Freehand Gallery in LA. She's also the Executive Producer of the Craft in America TV series. (I've not seen the series, but it has apparently won a Peabody award, and it's well-regarded.)

The attendees were primarily students in the Claremont College woodworking program, so some of what was discussed centered around furniture and cabinet making. Still, she offered a number of tips for artists trying to get their work into galleries, presented from the viewpoint of the gallery owner.

  • One point she brought up is that many of her customers want to be emotionally invested in the artist and the art piece when they buy a piece. If they know the artist's story, and the story behind the artwork, they tend to connect to both better, and they are more compelled to purchase a piece. What would you rather buy...a nice bowl from some guy you don't know, or a similar bowl made of wood salvaged from Hurricane Katrina, turned by an interesting guy living on the bayou?

  • When you approach a gallery trying to sell your work directly to them, know beforehand what you need to make for the piece. Don't hem and haw about the price, and don't ask the gallery owner to set the price for you. She warned that most galleries these days are expecting to make 100% markup (she called it 50%)...they need to double their money in order to make it worth their time.

  • When you show your work to a gallery owner, leave your ego in the car. A good gallery owner knows what his or her clientele will buy, and you should not be offended if your work is not a good match for their gallery. Carol arranged for one of the students to bring 7 or 8 pieces to the presentation, including flatwork jewelry boxes, bandsaw boxes, and a couple turned pieces (including a turned wood box made to look like a pink-frosted cupcake). She discussed each piece and why it would or would not be a good match for her gallery. The metal-banded treasure chest jewelry box was well done, but she had no interest in it, since it was not something her clients would want. On the other hand, she would have ordered a dozen of the cupcake boxes on the spot, though. She also really liked a small natural edge bowl, and said she'd buy one of those any day of the week. (Figuratively speaking, I'm sure.)

  • She stressed the importance of developing your own clientele, and making sure they know where your work is available and when new pieces are made. Every sale should result in a name on your mailing list, and that list should be promoted to with gusto. No real revelation there, but many artists fail at the promotion aspect of the business. (Sound familiar Rob?) ;)

  • As a gallery owner, she's acutely aware of how the Internet has changed the art sales landscape. She said there are a lot of galleries that have closed in the past few years since many artists are now selling directly from the web. I have long maintained that things like turned pieces sell better in person, because people get a better appreciation for a piece if they can hold it in their hands and feel it. I mentioned this point to her, and told her I consider that to be an important part of the sales cycle for me. She agreed, but pointed out that once a customer is familiar with an artist's work and knows the what kind of quality to expect, then they are much more likely to make other purchases via the web. Which again ties back into the whole mailing list concept and staying in steady contact with your customers. Let them know about new pieces, and let them know where they can be purchased.

  • On an Internet-related note, she stressed that artists should not sell their work for less on the web than they are selling for in the galleries. Undercutting the gallery prices is a quick way to get an owner mad, and will ensure you won't be selling any more pieces there.

  • Many artists who are starting out end up selling pieces on consignment, instead of selling directly to the gallery. (Carol's gallery has both consignment pieces and pieces they've purchased outright for resale.) She stressed the importance of making sure the gallery has insurance to cover the loss or damage of consigned pieces. And here again, know beforehand what you need to make price-wise, and don't expect the gallery owner to tell you what it should sell for.

  • Lastly, she made it clear that selling art is not a fast path to riches. You don't see a lot of wealthy artists, and there's a reason why. There's only room for a few Sam Maloofs and John Jordans in the world at a time, and there's a lot of competition for those rarefied spots. While there are a number of good artists making their livings working with wood, they are usually paying the bills with cabinet work or other contract work, while pursuing their art on the side.
So that's the Cliff Notes version of the workshop. It was worth the 2 1/2 drive time for me, and I hope my write-up can offer some insights for others.

Thanks for the heads-up Mohammad. :thumb:
 
Excellent report Vaughn :clap:

Confirms a lot that most of us know for sure, the "Know your own price" thing is surely important, and the personal connection bit, I know that works for sure.

Cheers!
 
Thanks for posting your notes Vaughn. I am glad the presentation was useful. When you said 'Claremont College', I was like Oh Uh Vaughn went to the wrong college.
 
Vaughn,
Thanks for the report... very interesting and well done. The seminar sounded like I would have enjoyed it as well.

Your point about people touch and feeling pieces before they buy is right on point. :thumb:
My wife was helping me at the summer shows and was prompted to tell people that my turnings were "Fondle ware".
Some of the buyers would touch and handled the pieces almost reverently. I've even had to literally take a piece out of their hands so I could wrap up the sale.:D
 
Thanks for posting your notes Vaughn. I am glad the presentation was useful. When you said 'Claremont College', I was like Oh Uh Vaughn went to the wrong college.

Doh! :doh: I meant to say Cerritos College. I guess I had Clarement on the brain from the show last weekend.

Your point about people touch and feeling pieces before they buy is right on point. :thumb:
My wife was helping me at the summer shows and was prompted to tell people that my turnings were "Fondle ware".
Some of the buyers would touch and handled the pieces almost reverently. I've even had to literally take a piece out of their hands so I could wrap up the sale.:D

Fondle ware...I like that. :) I make it a point to tell booth visitors "Feel free to pick anything up...it's all meant to be handled." And you're right about how some people are about reverent when they do handle things. Even some kids.
 
There's one other thing Carol discussed that I should add to this thread. Now keep in mind she's a gallery owner, so she's biased. But what she said does make sense. (At least it does to me.) ;)

A lot of artists wonder what the value of the gallery is. If I can sell a piece myself for $200, why sell it to the gallery for $100? Well, the gallery does a lot of things that the artists would otherwise have to do...

Things like showing the work. Do you do art shows like me? Those cost money, for both the booth rental and any fixtures like tables and canopies. (And of you do indoor shows, chances are the Fire Marshal wants you to have flameproof table covers.) And factor in the one or two full days of your time, when you could be productive doing other stuff like making more art. Is the show out of town? Throw in food and lodging into the cost of selling that piece. And how many shows do you have to schlep that piece around to before it sells? I sold a piece last weekend that I've been displaying since my first show over two years ago. (I just hadn't found anyone who liked it enough to pay the price I had set on it.) All the packing and unpacking isn't real good for the finishes, either. And after all this, the piece is only exposed to the public for a day or two, then it's essentially unseen until the next show. I do 6 to 10 shows per year, so that's fewer than 20 days of exposure.

A gallery, on the other hand, has your piece exposed to the public every day it's open. Your work may not be exposed to the same quantity of people on any given day, but chances the people who do see it are people who are looking for art. Plus, the piece doesn't get the wear and tear from repeated packing and unpacking. The $100 you're essentially paying the gallery helps them to pay the rent and utilities so they can display your work and represent your interests.

A good gallery handles other aspects of the sale, too. Things like advertising, credit card processing, gift wrapping, packing, and shipping. All of these things would cost you money if you were to do them yourself.

I should also mention that I've kept referring to "art", but this all applies to both non-functional decorative pieces and functional pieces like salad bowls and pens. And the term "gallery" could just as well be the country gift shop selling your bottle stoppers and refrigerator magnets. It all works in a similar way.
 
Well done on the report Vaughn. Lots of very valid points. Here are some more thoughts on this subject of selling your wares.

I would only add that the moment one starts to sell your work, you become a business. Whether one sells "Art" or "Craft" type projects.

There is no getting away from the facets of a business.

You need to manage money, you need to manufacture or procure product for inventory and you need to practice marketing and learn to sell.


Most people dont like or dont feel comfortable with marketing and selling. Its evident from comments made on the forum about pricing.

I often wonder about whether anyone ever thinks about just what it cost to manufacture some of the "goods" we buy in the stores.

There are typically at least three levels of business involved in the chain before we touch a product as consumers. All have to make a living and all therefore need an operating margin or "markup".

Each layer has its own expenses (overheads) some of them exactly the same ( take insurance). Each has to recoupe those expenses and make a profit in order to survive.

Somehow we tend to forget this when we think of selling our wares.

What you mention in your correct defense of the Gallery and their markup is essentially the value proposition they present. I cannot stress enough to people who sell their work that this is the single biggest element that will determine how succesful you are.

The clearer you are about what you offer, the more able the customer is able to determine whether you/or your product are a right fit for them.

The big mistake that is made is people try to be everything to everyone in the attempt to not loose out on the market. In the process they confuse the market.

There is a lot of competition out there, there is a lot of noise to overcome to reach the person that will buy your product. The clearer you are about what it is that you and uniquely you are offering the more succesful you will be.

This is comparable to the dilema the department stores are struggling with. Space dictates that they can only carry a little of the range of each of the brands they offer. Yet the consumer is wanting variety and choice and the true brand is offering that within their specific niche. The department store becomes a compromise. Hence the advent of the speciality store with a clear brand image.

Most woodworkers enjoy the aspect of manufacturing and design.

I would strongly suggest that they look into the art and skills involved with selling and marketing if they wish to be more succesful at selling.

I was 15 when i was allowed to work in a friends fathers TV store. One day the top salesman for a particular brand stopped by the store to check on orders.

He gave me a 5 minute sales course that i have never forgotten. went like this.

1) Its all about the client not the product. Its what they want not how good you are.
2) People buy from people. People they like. So learn to develop rapport as quickly as possible and with as many different types of people as possible.
3)Help the client navigate their own thoughts to the solution of their needs. Find out their need. Ask questions and then listen both to what they are saying and what they are not saying.
4) If you are in direct front of them with the product around, put it in their hands as you describe its features. Dont hold it yourself or put up signs like dont touch. We need to use our senses. Its just like our eyes and ears. With woodwork feel is one of those senses. Weight is another.
5) After describing the products features ask them a question relating to whether it suites their needs. Note if you established their needs are different to the product that they are holding, dont stand their pointing at the right one, switch up the product. If they say no find out what it is that is the problem. If they say yes Yippee you on the way to the sale. Note I said on the way, not there yet.
6) Now you need to close this sale. Ask them if you can wrap the item and then ask them how they will be paying. This is where it comes in handy to have several means of payment available. If you only take cash you making a huge mistake in todays society. Make sure you can package an item for a customer. Packaging is a value added service that will disclose whether they are going to commit. Dont leave them too long to make a decision.
7) if they dont commit leave them to think about it and move on to the next customer if their is one. If their aint a next customer, then ask what the dilema is. Find out what the real need is by asking and listening carefully. Sometimes it only takes a 5% discount to seal a deal. This brings up a whole subject of when to discount and under what circumstances. Oh boy i could write a book.

Believe me i learnt the hard way from cold hard knocks and lots of study since then.

Its just the same as sharpening or turning a bowl. You have to be willing to learn, make mistakes, adapt and learn some more. If not find someone else that will sell for you. But then be prepared to pay them to do it.


While on the subject realize this topic of need is huge.

Needs to one person are not the same to another. Someone on holiday that has flown in needs small gifts another with a vehicle might not have the same need.

Some need to pay top dollar for their purchase. Yup sounds crazy but that is very true. Their are people with that need out there. Its crazy but very true. So get away from cost. Far away. Also get away from what you would pay. Its their need not yours or your money. Let them be crazy.
On the subject of needs, people have a budget so find out what it is when they are browsing. A little tact will do this if you establish rapport. Remember rapport means you have gained a degree of trust.

Vaughn also mention another word that i cannot stress sufficiently. Compelled.
I use the words Compelling Event. Its compelling events that give rise to needs that motivate us to purchase something to address the need.
Winter so you buy a snow shovel to solve the need to clear the driveway. Food you buy to solve the need to satisfy hunger.
Just take note that these are called utilitarian needs. Not all needs are. Most purchases are not made for utilitarian purposes or needs. Ask yourself why we collect planes. Yup i know we could all justify the heck out of purchase of so many planes. Just get in touch with your human side and be honest with yourself and you will discover a bunch of needs that you have inate in your make up which motivate you to buy something. These needs overcome rational sense. You need to find this out when selling to people.

So think of some of this next time you out selling. Do yourself a favor, walk around and watch people at the craftshow. Eavesdrop on the sale of others and see how it goes down. Study the process of whats at play. Its way more complex than we tend to think. Hey we are human.:eek:
 
Top