Unlike some corporate annual meetings, art associations’ meetings can be very sociable and fun. Frequently, the associations’ important issues are discussed and voted on, board members are elected, and then everyone stays to chat.

Often, refreshments are served. (Volunteer to help the refreshment committee, for extra networking opportunities.)

Invariably, everyone discusses his or her art career. Here’s the most important thing that you can do: Listen!

You’re there to learn from others, and — given a chance — they will share valuable information. They’ll talk about where they’re showing their art. They’ll talk about the gallery or shop or fair that was a bad experience. They may say where they found a great deal on frames, canvases, bulk orders for batting or fabric… and so on.

Oh, it’s fine to ask questions about how you can get into a specific gallery or shop. You can inquire about a store or show that you’re not sure about.

Start by listening to everything others say. Don’t interrupt with your questions or comments. Let them talk. Agree when your experiences have been similar.

Then, when they’ve said everything that they wanted to, ask a few — just a few — of your own questions.

You can form many wonderful, genuine friendships at these kinds of meetings.

In conversations like these, I’ve learned about other, useful groups. I’ve connected with other artists working with similar media to mine, and we’ve put together orders to buy our supplies in wholesale volume. That cut my production expenses by nearly 50%. I’ve met members who were opening their own shops or galleries, and were looking for consigned artwork to sell.

Attending meetings has been incredibly beneficial.

Many art associations and groups hold their big, annual meeting around May or June. Others schedule them near the end of the calendar year.

Those meetings are one way to meet a large number of active artists, and find ways that you can help each other.

And, in some groups, the annual meeting is when members sign up for major upcoming shows or other opportunities.  This is especially important when an art association has its own gallery.

Dress like a successful artist.  Take your business cards with you, and hand them out.  You might “just happen” to have your latest completed work in your car, since you were taking it to show a friend.

Be prepared for career doors to open!

Always join local art groups, no matter how humble or lofty. Go to their meetings, especially the annual meeting.

You’ll learn a lot and share what you know with others. Meetings are usually a wonderful, relaxed opportunity to meet other artists and network with them.

Every year, new artists and crafters decide that this is the year they’re going to launch their careers. They need places to show their artwork.

New shops and new artists can help each other. But, since both parties are beginners, it’s important to consider a few important points.

First, can you afford to consign your work? If you need income this week, you’ll do better if you can find a shop to buy your work, outright.

On the other hand, it can be brilliant business strategy to consign your art in a shop that becomes a local (or tourist) favorite.

Consignment works like this: You provide artwork for the gallery or shop. When it sells, you get part of the selling price, and the shop gets the rest. It’s not unusual to see a 30-70 split (the shop keeps 30%) or a 70-30 split (the shop keeps 70%).  The latter should probably be avoided.

In a perfect world, the split is about 50/50. After all, you’ve put time, materials, skill, and originality into your work. The shop is showcasing your work, providing valuable wall, floor or counter space for it.

Consignment can be great, ho-hum, or a nightmare. There are many factors.

QUALITY and QUANTITY

Are the shop’s standards high enough? Your art can shine in a setting with a good mix. However, if visitors take one look at most of the art and say, “Ick,” they may never even see your work.

Likewise, if the shop can’t find enough good artists and it’s obviously half-empty, that drives away customers. At the very least, they want a shop or gallery that provides a wonderful browsing experience.

However, if the shop owner does business with a collection of great artists, you can be in fabulous company… and build your reputation while you increase your income.

Visit your markets regularly and be sure that your work is shown in the best possible light.

PAYDAYS and PRICING

How soon will you be paid? If you aren’t paid within 30 days after the work sells, you may want to look for better opportunities.

Who is setting the prices, and are they in the correct range? If you’re new and the shop owner is as well, consider getting a second opinion about the prices. Items won’t sell if they’re priced too high or too low. (From my experience, items are generally underpriced. If your art isn’t selling, try a higher price for two weeks and see if that helps.)

SUPPLY and DEMAND

In the past, I’ve worked with multiple consignment shops and galleries each summer. Some of them will succeed and some will fail. However, a few will sell my work so rapidly, I may have to phase out the less successful shops, just to meet demand.

Even though I’ve supplied galleries and shops for many years, I still can’t predict which items and which shops will be successful.

It’s important to be on good terms with the shops you deal with.  Open communications — and flexibility — are vital.

INSURANCE

Discuss risks with the shop owner.

If there’s a fire, or the sprinkler system dumps water on everything in the shop, or if your work is stolen, what happens? Either you or the shop owner (or both) should have insurance, or be willing to cover the risks.

The shop owner may want you to carry insurance, as well. For example, if you’re making children’s toys, be sure you have liability coverage. It could be a shock — and a huge expense — if you have to recall 200 wibbly-wobbly toys because the manufacturer recalled the plastic eyes that you used.

(That said, those kinds of disasters are rare. Insurance can turn disasters into speed bumps instead of career stoppers.)

FLEXIBILITY

Although I wholesale some of my crafts to shops, I like to work with at least 50% consignment galleries each summer. (That’s my favorite tourist season in New England.)

The reason is simple: I love the flexibility of working on consignment.

If I get tired of making a particular item, I can simply discuss alternative products with the shop owner.

If a line of products doesn’t sell, I can take it back and place it in another market where it will sell. And, I can put different items in the shop where they collected dust. Everyone wins!

If I’ve committed to a shop and delivering the art is more trouble (or expense) than I expected, I can renegotiate terms.

A LITTLE OF THIS, A LITTLE OF THAT

Generally, I wholesale enough crafts to cover my basic expenses. After that, I focus on consignment shops and galleries. I negotiate good commissions, I work closely with new shop owners, and we all have fun.

I work primarily with seasonal shops and galleries… stores that open in June and close when the tourists go home. I work all winter, building my inventory, and then I can take most of the summer off. Most of my ‘work’ in the summer involves visiting my favorite tourist areas, checking on shops, and delivering products. Then, I go to the beach. Or the mountains.

CONTRACTS ARE THE KEY

Consignment shops and galleries can be a great way to launch your arts and crafts career. You can reduce the stress on both sides, by having a clear agreement with each shop owner.

Start with a standard contract, and modify it to suit your needs.

Here are some sample contracts, online:

Sample Artist-Gallery Consignment Agreement, from Michael Dunn

Sample Consignment Agreement for Artists, from Mark Henson

Consignment Agreement Contract – free sample

Some “worst case” advice, from attorney Richard Stim: Consigning Your Arts and Crafts

RECOMMENDED READING

It’s smart to consult books about consignment art sales and artist-gallery consignment contracts. The following are two of the best.

Business and Legal Forms for Crafts

The Artist-Gallery Partnership

First, find nearby art associations and join some

Most communities have an art association of some kind. You’ll find them listed in the yellow pages of your local phone book, and sometimes online. Look in categories such as “Clubs”, “Associations”, and so on.

These groups are usually a mix of professionals and eager amateurs. At their (usually monthly) meetings, I’ve seen everything from gorgeous, $10K watercolors to crocheted dolls in unnatural colors & fibers. No two groups are the same.

Art associations sponsor regular–at least annual–gallery shows in their own meeting place or in a town hall or library meeting room. They often have at least one outdoor art show, at which you can display your art and perhaps demonstrate your techniques. Most art associations also have some juried shows and at least one or two annual shows that are open to all members, regardless of expertise.

Art association meetings include regular demonstrations (of art technique) by artists who usually sell some art to the members while they’re there. This can be a good outlet if you want to do demos; start by creating a form letter that you’ll send to every art association in the phone book. When the demo is announced, make sure that the publicity mentions that you’ll have art for sale, too. The art association takes a commission based on how much you sell, and everyone goes home happy.

Then, the art association helps you display your art locally

Many art associations have working relationships with local businesses, especially restaurants, bookstores, beauty salons, and banks… anyone with blank wall space that wants an “art show” to generate interest. (They use this to attract visitors and for press releases, publicity, etc., themselves.) Libraries are less likely to be able to offer work for sale, but it depends upon the local laws.

The best way that I’ve seen this work, is if the sales go through the art association. That is, there is a business card (for the art association) next to each piece of art, with a price noted and how to contact the art association for more info. Of course, this should be something better than voicemail; someone needs to be on hand to answer the phone. A member who works at home is good for this job. (The art association can have a single phone number, and use Call Forwarding to whomever is manning the phones that day/week.)

Art associations handle merchant accounts and credit card sales, too

The art association makes the sale, and has a merchant account at a bank to accept credit cards. The art association takes a percentage of the sales, usually about 20%. At the end of the month, the association issues a check to everyone whose art sold that month.

If you don’t have a local art association, start one. If you are in an art association that doesn’t have this kind of relationship with local businesses, bring it up at the next business meeting and get it started.

Yes, there are issues to sort out, including how the art is insured, if it’s protected from damage (especially in restaurants, smoky halls, and beauty salons) and so on. You can check with other art associations and see how they handle it; generally, I don’t fret about this too much, but some artists do. I’ve had small pieces stolen from shows, but never anything that was taken off the wall. (That said, it can happen, so never show your valuable art in a setting that makes you nervous.)

Anyway, that’s the general idea… really just the tip of the iceberg. I hope this helps!