We’re well into convention season, when many artists get out of their studios to show their work and meet art fans.  When conventions are working for you, the right couple of events can make it financially feasible to pursue the art you want to create, instead of art that you must hustle to complete.

Many artists have dipped their toes into their first few conventions. Because success is found through experimentation, the biggest hurdle may not be to get started, but somewhere in the transition between getting your feet wet and swimming laps.  Some learn to tread water, but give up when they feel they’re not getting anywhere.

One artist may do 3 conventions/year and another might do 10. It will take the first artist 7 years to learn what the second artist learned in two. This isn’t an argument to exhibit more often – far from it. I think making the art is much more important. But I encourage you to go easy on yourself; don’t compare your progress to others. You’ll try different products, different displays, different packaging, different printers and manufacturers for your products, different events. Add in confounding factors such as show-to-show and year-to-year inconsistencies, and it’s a long road to knowing when you’re making the right decisions.

 

If you’re completely green, there are a handful of great articles here on MC to help get you started:

 

I offer these observations and lessons that only came after my first few years:

Shawn E. Russell ‘s sharp display at DragonCon 2024.

Display Observations

  • My top 10-20% of artwork will sell 80% of my prints. Most of the prints I sell are of the same 8 paintings. It’s not the same 8 one year to the next, but instead it’s a combination of what’s new and what’s most popular. If it’s particularly good AND new, it’ll be well-liked for a couple years.
  • The prints (and originals) you display will significantly influence which prints you sell. If it’s hanging on the wall behind you, expect to sell more prints of it.
  • I find myself referencing past event displays when packing and preparing for a convention. Also, some events will require you to apply with a photo of previous booth setups. Take a photo of your booth, even if you don’t have any intent to share it. (While you’re at it, grab some photos of your friends’ tables, particularly while they’re at them. So many of us forget to and it’s a nice gesture!)
  • Many people won’t ask the price of something they’re interested in. There’s a sort of commitment when that question is asked, and if the price is a deciding factor, they may just pass on it. I want those people to feel comfortable about the decisions they’re making on my art, so I display my prices.
  • If you cover your display overnight, use a mesh cloth or similar. Other artists, exhibitors, and even judges for awards walk around before or after the show. I was a judge one year for GenCon’s award show, and there were so many artists I couldn’t even consider because they’d deconstructed their walls or covered all of their art. (On that note, your name should be clearly visible somewhere!)
  • Many people like to explore in a tactile way. Some need time to digest what they’re seeing. It can be awkward when you love an artists’ work, but all you can do at their booth/table is stand and stare like a rock blocking a stream. Sometimes they just need to appear to be doing something, so that the friends they’re walking around with don’t tug their attention away. Help them out by having something they can flip through, sort through, or pick up.
  •  Like picking your starter pokemon, three options is a great default. Avoid decision fatigue from too many choices (which also gets more expensive to stock for you), but give folks the opportunity to have a favorite.

Jeszika Le Vye covers her display with a glittery tulle.

Build Relationships

  • Experimentation is important, but if an convention feels good, consider committing to it for a few years to see what grows from it. You will build relationships with the people you see each year, and they’ll become invested in you and your art and come back to see what’s new. In my opinion, this is the rewarding part of going to events! I expected that attendees would get tired of me, but it’s quite the opposite- conventions almost always grow in subsequent years compared to your first. This has even proven true at a 5-artist event I’ve done for 4 years, where the repetition of artists is very naked and obvious. Somehow, we all seem to do better each year anyway.
  • People may be happy to see you on repeat, but they do want to see new art when they visit you again. Things significantly stall for me when I go a year without bringing much new to discover.  Highlight new art in your display or print menu for returning visitors to easily find.
  • It’s a tall order to visit with hundreds of people in a highly distracting environment for 2-5 minutes each, and expect yourself to easily recall conversations a year later. There’s a significant delay when my brain must retrieve data that hasn’t been accessed in a while. To help with this, I make notes on stand-out conversations and people at the end of a convention. Then a few days before I go back the next year, I read the notes to cue up that stale information before I need it. By the second year seeing someone, I don’t need the reminders!

 

I hope everyone who is getting out and sharing their art at conventions this year has a great time!