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Here are a few reasons that craft fairs are so important to the crafters, the customers, and the community.

1. Craft fairs save dying arts by giving leatherworkers, woodworkers, textile weavers, and other artisans a venue to show their wares.
2. Crafts sold at craft fairs are made with love (not underpaid labor).
3. By purchasing goods at a craft fair, you are supporting people rather than corporations.
4. When you purchase from a craft fair, you can know that the product you are buying is unique.
5. Visiting a craft fair is a chance to meet local artists and appreciate their creativity rather than visiting a mall filled with the mass-produced merchandise.
6. Handcrafted items will usually last longer; in fact, they may become heirlooms.
7. By purchasing crafts at an art fair, you are fostering creativity in your hometown.
8. Crafts sold at craft fairs celebrate the diversity and culture of the community.
9. Purchasing from craft fairs supports local entrepreneurs and the local economy. By buying at home, you keep that money at home.
10. Buying goods at local fairs supports local art events and encourages your community to host more events like it in the future.

Share this list with friends and other crafters to encourage others to buy and sell local.

Note: The opinions expressed in this blog post are those of the writer and do not necessarily reflect the views of ACT Insurance, its employees, or any of the companies affiliated with it.

In light of recent events, it seemed a good time to write a blog post about something that many artists and other creative people have faced for thousands of years and that some of them are still facing today. When, if ever, is it ok to censor art or books, and how much freedom of expression should creative people be allowed to have?

These are difficult questions that can’t be fully answered with this simple blog post. So why bring it up? Why bother even writing about it? Because having the conversation is just as important as answering the question.

As with most everything, people have differing opinions on the issue. There are those who believe that some images and words are not appropriate and should be censored every time. Other people believe that nothing should be censored - under any circumstances. There are also those who take a middle ground.

Sometimes the reasons art is censored changes over the years. “The Adventures of Huckleberry Finn” by Mark Twain has been censored numerous times over the years. While today it is usually banned because of its racist language and stereotypes, it was first banned one month after its publication by a Massachusetts library in 1885, according to a Huck Finn teacher’s guide provided by PBS. Why was it banned? Because of the “very low grade of morality...couched in the language of a rough dialect [with] a systemic use of bad grammar and an employment of rough, coarse, inelegant expressions. It is also very irreverent…”

Ouch! What artist or author would want to hear that about their work? Mark Twain didn’t mind. His response: “They have expelled Huck from their library...this will sell us another 25,000 copies for sure.”

There are good reasons that people give for why censorship is needed (usually for the sake of children), whether you agree with them or not. There are good reasons that people give for why censorship is not needed, whether you agree with them or not.

Still, it seems odd to call for art to be censored simply because I don’t like what I’m seeing. Who am I to censor something that I consider “offensive” when someone else may have the opposite feelings as I do? My feelings about this “indecent” thing may be very strong. The other person may have feelings just as strong as mine. A piece of art that I consider “immoral” could be a beautiful work of art to someone else.

And here’s the great thing: If I am offended by some piece of art, I have options. I can be my own censor.

If I find a passage in a book that is offensive to me, I can stop reading and close the book.

If I’m at a museum and I see something “indecent,” I can walk away.

If I see art I consider offensive about someone or something that I consider sacred (or that I feel at least deserves reverential treatment), I can ignore it.

What I do know, and I think the majority of people in the world would agree with me, is that there is NOT ONE SINGLE PERSON LIVING ON THIS EARTH who has the right to kill someone else because they were offended by an image, word, or another piece of art. Ever. No exceptions.

Artists, authors, sculptors, and other creative individuals should have the right to create whatever art they want. I have the right to personally decide whether that art is something I want to look at or not. In essence, it really is that simple.

Do you agree with the post? Want to express your opinion about censorship? Please comment below.

Art fairs can be a great way for you to greet potential customers and to show off your work. Not all of these shows are the same, however. Some fairs allow any artist or crafter to get venue space, as long as they can pay the required fee. These fairs may also be more general and include everyone from painters, jewelers, and leathercrafters. Other fairs, however, are juried and tend to be more specific in who they want. These fairs include a judge coming around and reviewing your art to see if you are allowed to be in the show.

Getting accepted to these fairs or shows is a great way for your work to be given exposure and for you as an artist to be taken seriously. There are a few guidelines to follow that can increase the chances that you will be accepted to the fair:

1. Understand the rules. The number one reason artists are not accepted into juried art shows is because they didn’t read or understand the rules, according to John R. Math in his "How to Get Accepted to More Juried Art Shows" article. If you study the rules carefully, you are giving yourself a much greater chance of being selected.

2. Don’t Ignore the rules. Understanding the rules is one thing. Actually following them is quite another. You might think that trying to go “above and beyond” is a good idea in order to try and impress the judges, or that neglecting one small aspect won’t matter. Doing these things almost guarantees rejection. What impresses the judges most is that you followed their instructions to the letter.

3. Know what you’re getting into. Your art may be beautiful and may even be in high demand, but if it doesn’t fit the theme or the look of the fair, odds are your work will not be accepted. And even if it is, you might not be able to make enough of a profit to make the fair worthwhile. Know before you sign up what the theme of the show is and whether or not your art fits.

4. Think about the business aspect. While it may not have any bearing on whether you are accepted to an art show or not, it is important that you ask yourself if it makes financial and business sense for you to be there. Consider the extra costs you may incur, including travel, booth rentals, and possibly even needing to purchase art fair liability insurance. Are the extra costs worth the self-confidence boost you would get by being accepted?

5. Don’t get discouraged and don’t give up. This may be the most important guideline to follow. If you are not accepted into an art fair, do not get discouraged. Do not put yourself or your work down. There are any numbers of reasons why the judges decided not to accept your work, and odds are good that it is not because they didn’t like it. Keep trying and keep submitting. If you persevere, you give yourself a much greater chance that your art will be accepted.

Once you have been accepted, the preparation begins. Part of that preparation includes taking into account the expenses discussed earlier. Travel and booth rental costs are pretty straightforward, but insurance coverage can be tricky.

If the venue site does require you to have insurance, you should consider an Artists, Crafters, and Tradesmen (ACT) Insurance. An ACT policy gives you the option of choosing liability coverage for only one or two shows or having coverage for an entire year. Both options are affordable and meet most venue requirements. To learn more about which option is right for you, please visit ACT’s Compare Policies page. Having insurance also gives you one less thing to worry about as you get ready to showcase your work.

Has anyone taken the David Emmons Master class ?

Was it easy to implement and did the results meet your expectations ?

Any info is appreciated.

Has anyone tried Avalara? It's a tax-automation site/service. 

I am new in participating in art fairs. Two weeks ago, on August 17, I had a booth at the Agora Art Fair in Fitchburg, WI, near Madison. I was reasonably successful with slightly over $1000 in sales. One of the pieces I displayed was a 30x40 picture of a restaurant on a bridge in a small town in Provence. Many people admired it, but no bought it. That is, no one bought it until yesterday, when I received a phone call from someone who had taken my card. She told me she wanted to purchase it and could I bring it over and help her hang it. I agreed, and my sales from that show just went up about 30 percent. You never know.

Okay. I had an issue tonight at the Wyandotte Street Art Fair. My iPhone would not connect to the Internet and thus, I lost a $35 sale for my square account could not connect. This is frustrating because I have been reaching for sales at this show and this one that walks away hurts more!

Has this happened to you? I called Verizon tonight and they said to power off your phone and restart. Does this work?

By the way, they said they would go to the ATM and get some cash. But I know and you know too, that once they leave your tent, they'll never come back. This indeed was the case this evening...

Hi Friends...I am fresh out of the van and home from Tupelo.  Here is my review of the show...

I arrived Friday afternoon and checked in at the information tent with nice staff.  I had been assigned a booth on the very end of a row (bonus corner booth), so I was able to pull up right next to my space, unload and set up. 

After set up, I went to my hotel and freshened up for the GumBall.  The Gumball is a preview party for artists and patrons.  If you donated a piece to the silent auction, admission was free.  I donated a piece as did Robert Wallis, so we went together.  Gumball is a classy event with free food, very good food btw, and a cash bar.  The silent auction was impressive.  There were many good pieces there and people were bidding.  I was glad to see my piece sell for a good amount and Robert's did too.  Robert and I had a great time chatting and having dinner and cocktails.  He told some great stories. 

Saturday the show started at 9am and the weather was fair.  It had rained the night before, and was still a bit drizzly, but cleared to a nice day.  The crowd came as did the buyers.  I would say they had a good crowd and good buying energy for reasonably-moderately priced art.  On Saturday, I covered all expenses and moved into profit.  There were some artists though, that had sold little to nothing on Saturday.  I heard a lot of people say that last year was better for them. 

Saturday evening was the artists award dinner with a nice meal and free wine/beer.  The show gave out 1st, 2nd and 3rd place awards in all categories with cash prizes for each and one best of show with a $1500 purchase award.  I have to say I thought this was generous to do all three awards per category and have money for each and have a nice artist made trophy for each.  I get the feeling that whatever this show makes on jury fees and booth fees goes right back into it for artist amenities and awards.  I would like to congratulate fellow AFI member Suzanne Ens for winning First Place in fiber!!!  It was well deserved, her work is amazing!!!!!

Sunday the show began at 10:30 am and the crowds were not there until about 2pm and even then they were very light.  I do not know if Mother's Day had anything to do with that or not, but this is a very church going community and nothing seems to happen until afternoon there anyway.  I had only one sale on Sunday and there was a significant shift in clientele from Saturday.  This crowd was much older, many more families and 99% lookers.  Typical Sunday for many shows.     

Load out was just as easy as load in and I had the whole thing packed up and was pulling out in about an hour.  I ended the show with a very modest paycheck profit.  I was very impressed with the hospitality this show offers.  Free dinner on Friday and Saturday nights, The Salvation Army served free hot breakfast Saturday and Sunday mornings for artists and water was passed around several times.  I think the awards were very generous and I found the staff to be very friendy.  I liked this show.  This was not a very big money maker and I will keep it in the maybe category for the future, but I still thought it was a nice show and I liked it.  There was a lot of good work there and some very nice artists.  One caution for those that have higher end work (over $500.00), I heard many artists with these price points were doing little to no sales.  There were a few artists that zeroed at this show, sadly that happens sometimes, I have been there too and it sucks.  Overall, I give this show a B+, they did everything right and the only thing keeping it from an A in my mind is low sales, but I am grateful for the little profit I did make. 

I will be doing The Northern Virginia Fine Arts Fair in Reston, VA this coming weekend.  Due to the very long drive for me I will probably be posting that review next Tuesday.  Stay tuned........   

I know it sounds odd, but for many of my customers I seem to have become their “secret weapon” in 'keeping up with the Jones’ ' scenarios.   I’m  specifically referring to well to do, more mature ladies (i.e more grown up children) who “do lunch” with their friends, attend fundraisers, love to shop and so on.

They have usually found me online (by chance!) or at a show and live at least a couple of hours drive away (my local customers are more than happy to spread the word).    They buy regularly from me, for both themselves and gifts but overall, we’re not talking huge $ - perhaps $200-300 from each of them a year.   But that’s where it ends.  You would assume that you would get some ‘word of mouth’ happening and a few referrals.  Although I hear that they’ve received so many compliments on their newest purchase, I’m yet to see that translate … EVER… into an enquiry.  

I’ve think I’ve become their secret weapon in the way to outdo their friends (who I assume are similar in style and taste to them).    I’m obviously not well known where they are so that they can't "drop" my name and have it mean anything.  When complimented I assume they just say thank you and move on, or when pressed,  describe me as the little ‘girl’ (although I hardly fit that description any longer) that makes things for them.  To quote one of them  “I told my friends I have this amazing little girl I found who makes them for me”.   End of story.

I’m not comfortable with saying to them  “please let your friends know” as these are established clients and that line seems more appropriate for newer clients - and a bit pushy at this late stage.    

So, is there any way that I can turn this to my advantage?   Or a way to get them to spread the word?  Any ideas welcome!

I AM POSITIVE. 

I CAN DO THIS.

I CAN SMILE FOR 8-12 HOURS.

I CAN BE FRIENDLY, POSITIVE, AND UPBEAT DESPITE THE SWEAT DRIPPING OFF ME.

OK.  I'm trying to stay 'in the zone' of positive thoughts, positive vibes and auroas.  And people -love the jewelry and the glass.  Lots of compliments.  Sometimes identifying which piece should go to whom.  Thanking both of us for making the jewelry and glass.  Ooos and ahhhs. 

And then they say: 

   Do you have a card (all over the table - cards and postcards).

   Do you have a website (yes but pricing is higher) and I think that the website holds us back at shows because most people - 99.99% do not contact us after shows.

  Will you be showing anywhere else?  (If I say yes, will you promise to buy there?  And what's wrong with buying it at this show).  If I say yes - and tell them, they walk along.  If I say no this is it for this city -- or 'we'll be in  atlanta (not chicago) -- they walk away.  I sometimes think they ask the question and don't listen tot he answer.

    So, does anyone have any suggestions on closing a sale?  Sometimes I ask people - which design speaks to them.  or I see that they keep on going back to a particular design and I suggest that's the piece that is pulling at them ... it works sometimes and not others.

   I'm all ears -- and would love to hear from people before show opens tomorrow -- but even after that, suggestions would be valued.

Thanks in advance - Deborah@DorLDor.com

Artists have an especially hard time on the Internet because many (most?) artists fight the battle between art and commercialism daily.

It's especially hard to decide where to draw the line when selling art online.

You want your website to be as beautiful as your art.  You design a site that reflects your aesthetic but then you are disappointed with lackluster website sales.

Many artists build websites but get NO sales at all online.

Unfortunately they blame the Internet when it's often more a matter of website design.

If your website is attracting visitors but few sales, ExpertWebsiteReviews.com can help.
 

Expert Website Redesign Advice Videos - Cheap

Generic web design theory won't help you as much as personalized website advice that you can see.

Here are 2 examples of recent custom website review videos from ExpertWebsiteReviews.com.  They are full of valuable tips for how you could improve your website sales, too.
 

Video Review of BNelsonDesign.com

[click here if you can't see the video website review]

ExpertWebsiteReviews.com is run by my son, Scott Fox, the best-selling author of Internet Riches and e-Riches 2.0 and a long-time dot-com success story. (He's also a frequent participant here at ArtFairInsiders.)

Holiday Special - only $99!

Currently the custom web site review videos offered by redesign recommendations video consultant
ExpertWebsiteReviews.com are only $99 each.  The price is jumping in January to $129 or even $149, however. 

If your website could use a "tune-up", I'd suggest ordering a review yourself today. It's an inexpensive way to increase the return on your website investment.
 

Here's another example video:

Video Review of Biwer-Stewart.Artspan.com

[click here if you can't see the video website review above]

Winter is the right time for you to look at your website again.

If your website could use an upgrade, Scott would be happy to help, and he knows our art fair business.

Visit http://www.ExpertWebsiteReviews.com to order a personalized video review of your website.

What did  you think of Scott's redesign suggestions for these websites?

Anything  you disagree with? 

Would you  like to see more artist website redesign videos?

 p.s.  The custom video reviews from ExpertWebsiteReviews.com are only $99 for a limited time.  Reserve one now because the price is going up after Christmas!

Gfit idea: Order one for your favorite artist as a gift!

Public Art Project on Tour in Basel, Manfred Kielnhofer

Shared by Austrian artist and designer Manfred Kielnhofer. The “Light Guards” project is further developed and become a ghost car touring in Basel art show during June 15 – 19 2011.

http://artobserved.com/2011/06/ao-on-site-art-fair-news-summary-and-final-photoset-art-42-basel-2011-in-closing/

Eccentric art was also at Basel, if not as dominant a presence as the traditional buys. Ghost Car by Kielnhofer was a large white van with hooded figures driving outside the fair, and the Bleifrei (which translates to Lead Free in German) Art Collective told Art Info: “Art is like Jesus; it died and it’s coming again.”

Manfred Kielnhofer, Ghost Car (2011) Basel, via Kielnhofer.com

The grim seeker after truth
Anyone wondering why these grim reaper style figures were seated on this white van - look no further than the latest installation from artist Manfred Kielnhofer. He is from Haslach an der Mühl, in the district of Rohrbach in Upper Austria, Austria, and is an artist and designer whose work usually centres around the human anatomy. His recent piece of art is the Ghost Car, which is a product of the developing ‘Light Guards’ project. This project surfaced from the theory that humankind has always been able to boast having guardians in different ways, in potential danger from only themselves. This idea intrigued the artist Kielnhofer, who approached it with his artwork, intertwining the theme of longing for security harboured by all humans. The Ghost Car portrays a sizely white van driving, seating sheet-covered figures. Perhaps this reflects individuality, exploration and recognition of current events in society, as it seems to interpret the theme by suggesting the hooded figures are looking to the drapes and car for protection as they are possibly ghosts, who are afraid of the life after death, and long for safekeeping.
By Alessia De Silva
http://austriantimes.at/news/Panorama/2011-08-06/35422/The_grim_seeker_after_truth
http://kielnhofer.com

When I posted my blog piece "Why aren't I selling?" I did not expect the response that I received. All I can say is WOW! I just finished reading each and everyone of them and appreciate the various comments, opinions and thoughtful insights that others have on the subject.

Michael R. made the remark "... sold to 4 out of every 10 that stopped by? Really?" To that I have to respond, "Yes, really," however, when I gave that figure, I did not say whether or not the individual had gone by my booth before without purchasing something. This in fact happened several times and a few of the "4 out of 10" came back either the same day or one of the following days of the show to purchase. When they returned they told me they just had to come back because of the amount of energy, the way they were made to feel important, especially when I would excuse myself to answer someone's question, tell that person I would be right with them as soon as I finished with the other person, and then return to talking with them, tell them to enjoy their day even when they didn't buy anything the first time around. I even joked with one person and told them I felt like a used car salesman when I explained about the festival and what we were striving for. The response I received was that I never made the person "feel like" they were being sold a bill of goods.

I have to agree with Michael that if my numbers matched and/or balanced out with the total number of attendees then it would have been a highly profitable venture to say the least. If I HAD sold according to the attendee numbers, I would have been out of stock the first day of the show. LOL. Believe me, I realize just like everyone that sales don't always go by the numbers and in a perfect world we would ALL realize the fruits of our labors. To me, however, building good customer, or potential customer, relationships is extremely important. I did have several people that were pleased that I was still doing the festival as they remembered me from last year (they did not purchase anything from me then), the referrals to other vendors I had given them when they were looking for something specific and directions to various places of interest within Alpena. They even brought others to the Festival this year to meet me and they all purchased something with a promise that they would return again next year.

Word of mouth on the positiveness and/or negativeness of an experience at a show can make or break a show or a vendor. For example, a vendor had a customer complain about a shirt they had purchased last year that was handpainted. The customer even brought the shirt in to show how badly the paint had come off. The vendor looked at the shirt and asked if they had "hand" washed it according to the instructions they received when they purchased the shirt. Even though the customer did not follow the insturctions, the vendor told them he felt bad about the results and gave them two different shirts at no cost to them. The customer was floored by this and even stated that a lot of BIG companies wouldn't do that. He ended up purchasing a stained class and hand carved mirror from this same vendor. When the customer left the show, he stopped at the ticket/information area to tell them that he would definitely be back and bringing others because of the way he was treated months after a prior shows sale by a vendor.

At Festival, even in these tough economic times, we've tried, for the most part, to be very upbeat and positive. We must be doing something right as we will be hosting our 17th year in 2012! The Festival goes out of its way to make sure that the vendors have what they need, when they need it and be as supportative as possible. However, there are a few that no matter what you do, that are not happy but that happens anywhere.

Thanks again for all the wonderful comments and for the food for thought. Mike R, just want you do know I appreciate YOUR comments as well as wasn't picking on you. The numbers and rationale were right on the money, just felt that your comment was a good one to use as an example of how numbers can be tweaked and not really give a good accurate result. May each and everyone of you have a successful show, meet wonderful people and enjoy all the best that life has to offer.

I have been looking at getting a large format printer (Canon imagePROGRAF iPF6100 Large Format Printer) and I am seeking input from any experts out there who might like to chime in. I would be using this to print up my own work for sale.

I welcome any input anyone is willing to give. I know a little bit about printers, so don't be afraid to throw in technical jargon if the situation calls for it. : )

Thanks in advance

Michael R

A few days back an artist posted a question about how to engage prospective customers.  Here's a place to start.

Getting Artists to be Better Salespeople

Hmm, the working assumption is you want and need to sell more of your art.  Granted many artists don’t do their thing for income or as a biz.  And that’s OK, but IF you do, and sales are slow, those over-stuffed shelves of aging art inventory can be like a creative spirit-robbing, inspiration-thief in the night.  There’s the Usual Suspects to move art: add another art fair, drop price, run sales, try the next gallery, place ads, get a new agent, hold events with wine and cheese, get a new web site, start a blog, etc.  But what about the secret weapon.

Become a better Salesartist.

A sale is nothing more than a transfer of enthusiasm.

Attributed to Brian Tracy in The Psychology of Selling, this declaration is widely known in sales circles, is simple, unforgettable, and rich.  It bears mantra-esque repetition.  Transfer more enthusiasm. Get more sales.

Don’t confuse this nugget with selling STYLE.  Many different styles are effective.  Like your favorite clothes, you use a combo of ones that fit well, are comfortable, blend naturally with your personality, build confidence, and are tailored for who you’re selling to at the moment.

Actively transferring enthusiasm to prospects shopping your art is another matter.  It starts with a ‘reveal’ and communicates the core of your passion.  Passion you got, you’re an artist!  Pass FORWARD the passion (think electricity through wire) and now you’re a cookin’ hot Salesartist.

If you CAN take the time, sure it will pay to study the art of selling:  get a few books, read some sales blogs, attend seminars, get CD’s, fine-tune techniques, practice and apply to your art selling.  If and when you overheat with ‘too much information"...

...just talk to a customer.  Directly.  Listen…the words they use, what they see, what they like or dislike, what they feel, about YOUR work.

Then your turn…Transfer the Enthusiasm.

Much success, Rick

Ok, it is uncomfortable for me to talk about my art... but I am a friendly person. I am not comfortable sitting in the back of my booth, watching folks who MAY buy a piece of my work... and me MAYBE saying "I was thinking about a time when.... I created this piece."

HELP! I need an in between! First year of doing shows, and I am loving it...just am feeling awkward! Thank you all!

~Crystal

I started writing a blog about "Tells" - the way you determine how a customer's behavior will or won't lead to a sale - click on the link to read, and please add yours!

I hope you'll add your observations!

In another five minutes, I'd have clicked "Send" on my Zapplication for Howard Alan's Stuart (FL) show, when my cell phone rang.  On the other end of the line was Naples National show director Marianne Megela, who informed me that a spot opened up from the waitlist and did I want to be in this year's National? 

I weighed the pros and cons for about a nanosecond. Or would have, had there been any cons to consider. Then I said yes.  And as events proved out, it was the right call.

This show (#8 festival in the nation) met all expectations: Great weather, large and knowledgeable crowds, phenomenal sales, and a friendly, helpful corps of volunteers: from the parking lot attendants at Friday setup to the former furniture mover for Allied who not only took charge of my long, long dolly from site to vehicle, but inspired me with his story of recovery from drug and alcohol addiction. 

The show's meticulously organized game plan is detailed on their website, and you're expected to have read it thoroughly before arrival (I did).  Setup is all day Friday, but it's organized by "zone" (which is determined by your booth number and location).  I arrived on time at 11 AM for checkin, got my "zone pass" and packet, and was quickly directed to curbside parking on the west side of Cambier Park, from which it was about a 50-yard dolly along paved pathways to my booth location in the center of the park's tree-lined main walkway.  (The park itself is just a block from Naples' 5th Avenue, which hosts a number of shows during season.)  Bright-vested volunteers, some equipped with headsets, were everywhere to help out.

Show protocol calls for you to fully unload, then drive back to the check-in/Artist Parking area and return by shuttle bus to complete setup, although I was allowed to stay curbside since things weren't yet busy.  The shuttles ran continuously (with pickup every 20 minutes) but I had mixed luck with them: Some of the drivers drove around the park as if they, themselves, had a bus to catch, and didn't look around or slow down unless you were waiting right at the curb to intercept them.  No matter: I was empty-handed, and it was only a 12-minute walk back to the lot.

Both days had near-perfect weather (in contrast to last year's cold rain and wind), and the crowds didn't let up all day Saturday.  Sunday's attendance was a bit lower, by all reports, but still heavy on buyers--my sales were actually higher on Sunday.  I was working solo so didn't have much time to interview other artists, but everyone I did speak to were satisfied..even the painter of spectacular African wildlife near me, who zeroed on Saturday, wasn't daunted: she's done the show for years and has a steady clientele in the area.

I came early on Sunday to grab some hospitality muffins and coffee and then walked as much of the show as I could.  The show's main traffic areas are 6th Ave S, on the east side of the park, and the east-west thorough of the park itself.  Some artists were set up on looping connector walkways, and I overheard a few of them talking about being in "dead zones" with lighter pedestrian traffic. 

On such a sunny, warm day--it was in the low-to-mid 80s--it was a bonus to be in the park, under trees.  The streetside booths were unshaded and artists and customers alike said it was pretty darn hot, despite gentle breezes.  The one downside of the park location: You were set up on sand and grass.  If you were on uneven terrain, the crew brought over mulch to level things out, but there was nothing you could do about the dust and grime.  The tent and rugs are going to need a long hosing this week.

As you'd expect the caliber of work was top-notch.  It was great to see so many bags being carried around, and --I gotta be honest!--especially that a fair share of them came from me.

Volunteers brought around breakdown instructions on mid-day Sunday: Basically a repeat of the Friday performance.  A number of large, generator-powered light poles were brought into to illuminate the grounds during teardown--a nice and no doubt expensive touch.  I was directed to the opposite side of the park, though, which meant a dolly of around 200 yards around curving, dark walkways.  Without the help of my volunteer from Allied, I'd probably still be dollying.  He worked his butt off to help me load, and we got everything to the van in three trips and half an hour.  Definitely worth the $30 I offered him!

The Naples Art Association has another show (Mercato) at the other end of town this coming weekend, and after a day at the beach to rewind I'll start gearing up for that one.  If you are lucky enough to do the National next year, bring plenty of inventory, a helper, cleaning supplies, and an industrial-strength dolly.  And with luck, you'll be needing that dolly to load out your cash drawer. 

All that said: I'm just one artist, and it was a big show.  How did YOU make out??