Saturday, April 29, 2017

Ink Drop Cafe Launch

What is Ink Drop Café

Ink Drop Café was founded in 2017 by a collective of comic artists creating stories that promote the autonomy, aptitude and ingenuity of all sorts of characters. Our primary focus at this time is on character-driven comics that are appealing to women and general audiences.



Ink Drop Café officially launches today,  April 29, 2017.


comic collective logo, logo for comic collective

Ink Drop Cafe Goals
Ink Drop Café hopes to promote all members through a central site and through banner exchanges across member sites.  We hope to utilize our unique resources and skills to promote one another and improve the comic community, as well as foster an environment where member comics can thrive.  In the upcoming year, members hope to secure shared tables at indie conventions, sellbooks, and make new friends and contacts.

Our Members
Our members have years of experience as professional artists, illustrators, comic creators, writers, editors, reviewers, and self-publishers.

Some of us have been published through Sparkler Monthly, Chainmail Bikini, and 1001 Knights. Others have helped manage #WebComicChat, How to Be A Con Artist, and StArt Faire.

We are involved in our community and love to see it grow bigger and better.  Ink Drop Café aims to provide access to our insight and allow others to contribute their own to help build a better future in the comics community.

Nattosoup Avatar
Becca Hillburn (Nattosoup) is a powerhouse of comics and art education. You can check out her all-ages comic, 7" Kara, or enjoy her art-education resources at the Nattosoup Art & Process Blog, How To Be a Con Artist, and on Youtube. You can also check out her online portfolio.
Patreon: patreon.com/NattosoupTwitter: @NattosoupInstagram: @Nattosoup
Cali is a tiny artist that mostly does art as a hobby, and is the creator of Chronicles of Fenaur (and two other comics; Psychteria and Hunter of Fenaur). She's a big anime fan and likes trying to bring her characters to life.
Patreon: patreon.com/CalimonGraalWebsite: fenauriverse.moe
Draco Plato Avatar
Draco Plato is a full time artist and comic creator with a BA in Visual Effects and Motion Graphics, who is also the founder of StArt Faire and KhyatiX. They have a passion for webcomics and the webcomic community and hope to see the community continue to grow in years to come.
Patreon: patreon.com/KhyatiXWebsite: khyatix.comTwitter: @KhyatiX
Hame Avatar
Hame is a full time UI/UX Designer, an illustrator and draws the webcomic Somewhere in the Rain on her (scarce) free time. She has a thing for watercolours illustrations and randomly sharing art resources through Twitter or Discord.
Twitter: @leilacmgInstagram: @leila.gonTumblr: @encased
KaiJu Avatar
KaiJu is a two-headed monster with a passion for creating worlds rather than destroying them.
They were first published in Sparkler Monthly in April of 2014 with their debut work "The Ring of Saturn." Their next work "Mahou Josei Chimaka," won a DINKy award in March of 2016.
"Inhabitant of Another Planet," a prequel to Novae and all the previously listed stories can be found on Sparkler.
Gumroad: gumroad.com/nebulaepressTumblr: @kaixjuTwitter: @KAIxJU
Leanna Avatar
Leanna C is an illustrator, comic artist, fan artist, and designer living in southern California. She loves to find, support, and share artists, resources, and opportunities for creators of all kinds. She is also quite fond of cats, coffee, and comics. You can find her work at:



Alakotila is a storyteller making games, books, and comics. Their current focus is the fantasy webcomic "Spidersilk," though more stories may be found here. They are the colorist with Ododon Games Company. They often teach, usually art and ESL, as well as edit. Probably wearing armor. Or maybe sweatpants.

Patreon: patreon.com/alakotilaTwitter: @AlakotilaPortfolio: alakotila.com
Michelle Avatar
Michelle is a Los Angeles-based story artist who creates the cyberpunk mystery comic Centralia 2050. She loves video games, crafting, and animals, and is in an endless fashion struggle between wearing pastels+flowers or all black+skulls.
Respheal Avatar
Respheal is a system administrator, gamer, and creator of the webcomic Galebound. She laments not being able to put more in this section.
Patreon: patreon.com/resphealTwitter: @galeboundTumblr: @respheal
Kabocha Avatar
Sam (kabocha) is an illustrator and computer tinkerer. She creates the webcomic Linked and runs the resource website Shooting Stars.
Website: shooting-stars.orgTumblr: @kabocha-chan

Shoona Avatar
Shoona Browning (they/she) is a cartoonist and illustrator who makes all ages comics with lgbt+ themes. Shoona makes the weekly webcomic Ellie of the Stars.
Patreon: patreon.com/shoonaWebsite: shoonabee.comTwitter: @megaloshoon

Our Affiliates
Nattosoup Studio Art and Process Blog

Ink Drop Café Does Not

  • Request ad revenue from members
  • Force members to participate in Ink Drop Café community events
  • Require members to pay a membership fee
  • Require members to have print books
  • Require members to represent Ink Drop Café at conventions





How to Join Ink Drop Café


Ink Drop Café membership is currently invitation only, although we hope to open up applications later this year.  If this collective sounds like the right place for your work, and you would like to be added to the list for consideration, please bookmark our page or follow our tumblr for updates and submission information.  You are also invited to join us on our forum to chat about comics, comic craft, and fandom.

New applications are voted on by existing Ink Drop Café members at this time, based on the rules listed above, as well as time of last update, how active you are online and in comic communities, and how well you maintain an update schedule.

Friday, April 28, 2017

Dos and Don'ts, Ins and Outs of Filling Convention Commissions


Over the years, I've completed thousands of convention commissions.  I'm quick, consistent, and have a few distinct styles that I work with for conventions.  While I do offer more detailed commission options, by far my convention styles are the most popular options. 

As a co-curator for How to be a Con Artist, I'm always pushing original content.  Comics, mini comics, sketchbooks, commissions- the field is flooded with fanart prints, and if you want to be able to compete (sales wise) you need to offer something distinct.  While I'm possibly gutting my own bottom line by helping you guys out, I hope you'll remember me fondly with cash at some point in the future, say at MTAC or APE.

Convention commissions sound fairly easy on paper.  Get money, draw thing, repeat.  But there's a lot beneath the surface that you need to take into account before you start accepting those commissions, lest you ruin the market so carefully built by artists before you.

Although I've written about conventions significantly over the years, my output on convention tutorials has just about dried up on this blog.  If you'd like to see that change, join my Patreon community and help support future content.



What are Convention Commissions:

Convention commissions are commissions filled at, or directly after, a convention.  Commissions are usually paid for upfront to cover time and materials cost, as these are designed to be fairly inexpensive commissions that are quick to complete.

Although convention commissions are generally completed in traditional media, there are some digital artists who also fill convention commissions.

Before you offer commissions, you'll need to figure out:

What Types Do I Offer:



For me that's:
Pencil (at con)
Ink (at con)
Copic+Ink (at con, new)
Watercolor- Basic (at home)
Watercolor-Detailed (at home)
Marker (at home)

Pencil (at con)

Ink (at con)

Copic+Ink (at con, new)


Watercolor- Basic (at home)

Watercolor-Detailed (at home)


What Styles Do I Offer:

For me, that's:
Very simple, cartoony (pencil, ink, w/c)
Very anime inspired, cartoony (pencil, ink, w/c, marker)
Anime inspired, comic (pencil, ink, w/c, marker)
Realistic (watercolor only)

Why do I offer commissions?

For me, the reason is:
I want everyone to be able to own original art that speaks to them, and I want people to stop buying prints from places like Walmart, Kirklands, Michaels, ect to fill their homes.  I realize that most people feel they cannot afford original art, so I try to offer something at every price level, to train a new generation of people to love owning and commissioning original art. This means my prices are much lower than average, which also means I take a LOT of heat from my artistic peers, and it means that I have to work much harder to make the same amount of money.  I would not recommend my methods to everyone.

Why do I price what I Price?

My prices:
Detailed Chibi, pencil- $10 each
Detailed chibi, inked- $15

Mini watercolors- price generally varies by size- always generate a custom quote
Detailed watercolors- price varies by complexity, size- always generate a custom quote
Copics- price varies by detail, size- always generate a custom quote

For me, the reason is:

Despite accusations, I am not trying to wreck the art market.

I enjoy creating art, I create a lot of art quickly, and so I often have an excess of pieces created from studying or learning new techniques.  Rather than sell these as prints and having these pieces rot in storage, I price them so that they can go home and live a life on someone's wall, as a treasured original piece of art.

While I do offer more expensive commissions in realistic art styles, the main focus for customers is on my inexpensive, easily filled commissions, so that tends to get the most attention.

In the end, you need to find a pricing structure that is sustainable for you, your creation materials and methods, and your desires.

What Materials To Use:

As a SCAD kid, I am infinitely comfortable with non photo blue lead, graphite, and ink.

As an internet artist, I have developed styles with alcohol markers, watercolor, and for digital art.

So I work with what I'm comfortable with, and as I develop new styles and abilities, I test run those on my Youtube channel before offering them as commissions.

My materials:
Non photo blue lead (Color Eno Soft Blue)
Mechanical Pencils
Soft Graphite (B)

Kuretake Fudegokochi
Pentel Pocket Brush

Colored leads (color eno)

Select alcohol markers (Blick Studio Brush markers and Copic, usually)

Sakura Koi watercolor set
Fluid watercolor paper

Winsor and Newton, Daniel Smith, SoHo, Holbien watercolors
Canson Montval, Arches, Fluid 100 watercolor papers

When trying to decide if commissions are right for you, consider the following:
  • Do I draw well in high pressure situations?
  • Can I draw with people watching?
  • Do I enjoy drawing for other people?
  • Do I enjoy other people's characters and backstories?
  • Can I draw in one style consistently?
  • Do I have the energy to fill commissions for the duration of the show?
  • Can I draw using physical media, or find a way to fill commissions at the show using the media I'm most comfortable with?
  • Can I handle filling commissions and sales at the same time?
  • Can I draw quickly enough for this to be worthwhile?

When first offering commissions, it's wise to offer commissions you can fill at the show, to help build up trust.  Once you've established that trust, you can start offering mail in, and more expensive options.

Do's:
  • Know your strengths, and market to that
  • Do your research ahead of time
  • Promote your services
  • Purchase commissions from other artists- it's good con karma!
  • Practice commission types ahead of time
  • Have examples prominently displayed
  • Have your materials prepared ahead of time
  • Be flexible

Don'ts:
  • Don't accept at-con commissions that you know you are incapable of filling to the customer's satisfaction.
  • Don't steal another convention artist's style for your commissions.  Word gets around.
  • Don't deliver sub par-commissions
  • Don't work until you're wrecked - it's better to wait until you are fresh than to deliver a poorly done commission.
  • Don't insult another artist's work to make a sale
  • Overpromise and under deliver
  • Default on a transaction without delivery or refund

If you enjoy my art, and would like some of your own, you can always commission me at home too!  All options shown above are also available online- email me for a quote.

Wednesday, April 26, 2017

Fountain Pens for Artists: Platinum Preppy

Last week, we were all about those Noodler's fountain pens (the Flex, the Ahab, and the Konrad- I have yet to acquire a Neponset- any generous donors?), this week, we're taking a look at Platinum's more affordable fountain pens.

Platinum is a Japanese stationary company who manufacture fountain pens, inks, mechanical pencils, fude pens, multipens, and ballpoint pens.  Although Platinum is huge in Japan, it's fairly unknown in the West, and while I've done due diligence with fude pens on this blog, I have reviewed few Platinum products.

Today, we're looking at the Preppy, a super affordable, customizable fountain pen that I believe every artist should carry in their pencil case or everyday carry.

Preppy:
On Amazon- $4.45 individually, around $17.00 for a set of 8
On Goulet Pens- $3.95
On Anderson Pens- $3.95

Materials:
Plastic 
Fixed width steel nib

Feed:
Enclosed Plastic

Sizes available:
EF
F (.3mm)
M (.5mm)

Cartridge based, can take a converter, can be converted to eyedropper fill for HUGE ink capacity



The Preppy is Platinum's most affordable fountain pen option.  It features a fixed width steel nib (think technical pen sizes), comes with a cartridge of ink that matches the color of the pen, can take Platinum converters, and can be converted with a little silicone grease into an eyedropper pen.  The entire body of the pen is plastic, and while I've read complaints of cracking issues, I've yet to experience any myself.


Since I'm currently working my way through waterproof, pigmented, and sometimes destructive inks, the Preppy is an ideal choice.  It's a full size pen, the ink flows smoothly with no interruptions, and I have had zero issues with any of my Preppys.  A close comparison would be the JetPens Chibi, which I will review at a later date, but I must say, the Preppy wins hands down compared to the Chibi.  If you're on the fence about fountain pens, give the Preppy a shot.


The nib has zero give to it, which might bother those who have gotten used to semi flex nibs like the Noodler's nibs, but if you treat this pen like a refillable tech pen, you won't be disappointed.



Both F and M lay down a consistent lineweight with no flex or variation.  All Preppys I have encountered have juicy inkflow, and can keep up with quick sketching or with more robust inks.

Pros:
Very inexpensive
Can be converted to eyedropper
Great starter pen
Fixed lineweight
Available in EF, F (.3), and M (.5)- sizes tech pen owners are familiar with
Steady inkflow
Easy to maintain

Once converted to eyedropper:
Can hold a huge amount of ink
Holds ink of your choice, including iron gall inks

Cons:
Fixed lineweight
No flex

Surfaces the Preppy Can Easily Write On:
Cellulose based watercolor papers such as Maruman, Holbein, and Fluid
Tracing paper
Sketchbook paper such as Blick Studio and Strathmore
Japanese notebook papers




The Verdict:

The Preppy is a great all around starter pen- so inexpensive, it requires no maintenance.  Once finished, you can toss it, or you can practice your fountain pen maintenance skills by cleaning it out.  Eyedropper converted Preppys in a size M are my favorite, and are used as a test for dangerous and corrosive inks like Iron Gall.  If it doesn't kill the Preppy, it may be safe for my other pens.

Preppys are great for more than sacrificial pens.  Fill them with Platinum Carbon Black for waterproof (once fully dry) sketches on the go, fill them with your favorite inks for color coordinated notes and planners, send one filled with your favorite color as an ink sample to a friend.

More on the Preppy
Best Fountain Pen
Office Supply Geek
A Better Desk
Iron Ion
Leadfast

Get Your Own

Monday, April 24, 2017

2017 Potential Patreon Backer Survey

If you are a backer, I have a survey specifically for you, and prioritized to serve your needs.

This blog, HTBACA, and the sister Youtube channel are all very expensive to update, maintain, and run- research, writing, experience, materials all have time and monetary costs.  For this reason, I run a Patreon to help defray costs of operation and to ideally, repay me for my time and energy.

In an attempt to attract more Backers and to better serve my band of Artnerds, I've released this Potential Backer Survey.  Please answer honestly, so that I can tweak my Patreon to be more attractive.

2017 Potential Patreon Backer Survey


Sunday, April 23, 2017

Conventions, A Blessing and a Curse

Way back in 2010, when Heidi and I were attending SCAD as wee baby graduate students, the writing was pretty much on the wall.  With the manga influence our styles shared, we'd be hard pressed to find work in the comic industry of the time.  With our backs against the wall, it was Heidi who suggested we give anime cons a shot.  Surely our styles would appeal to that audience?

Seven years and about a hundred conventions later, Heidi was right. 

It wasn't a perfect start- I had to build up an audience by doing conventions in the same location, year after year, filling commissions and chatting up my comic, 7" Kara, over and over again.  Conventions are work if you sell original products, and I've never minded a little hard work, especially when progress is apparent.

After five years of doing conventions, I really felt like I'd hit my stride. Copies of 7" Kara were selling well.  People recognized my work from Tumblr and Instagram, even if they couldn't pin it to my brand name (Nattosoup).  I had a steady influx of repeat customers and referrals.  Teenage girls swooned over my comic.  Although I, like so many comic artists, dreamed of this response, I'd never gotten it from my friends or while in grad school, and I'd leave conventions like Mechacon and MTAC feeling empowered- eager to make art, comics, and create educational content.

Conventions have worked so well for the both of us that it became tempting to lean on them as a income-crutch, assuming that they would be a fairly reliable source of money.  We justified our increased focus in a number of ways- starting How to be a Con Artist to collect our tutorials and con recaps (community and audience building, right?  Nope), we prepped as though editors were going to be there (spoiler:  If it's outta NY or SF, aint likely, especially not at anime cons), we made promo materials to help promote our online projects.

Although we attended dozens of cons, filled hundreds of commissions, and  met thousands of people, I found that there was a huge disconnect between my online audience and my convention audience.  I went through box after box of business cards, going from Moo cards with several designs (people would take one of each, without a thought as to what that cost me), to cheap Overnight Print business cards with a single design (they brag to me about putting the cards up on their wall, with no intention of checking out my work online), to promotional postcards to even 7" Kara stickers.  It seemed like no matter what I did- handwritten notes, enthusiastic endorsements, adorable promo materials, I couldn't get my con audience to engage me online.  I began to worry that I was creating an unsustainable business model built on the impulsivity of convention attendees.

Despite those misgivings, I continued with my con prep, continued filling commissions, continued trying to make connections.  I figured it was a numbers game, and perhaps the conversion rate for conventions is just abysmally low.

Unfortunately, the convention climate has changed in many ways.  The Southern Con Circuit, which is my stomping grounds, has finally seen an influx of print walls, print Walmarts, and collectives where none of the artists are actually present to sell their prints.  Last year's Mechacon was particularly pernicious, with attendees having a difficult time exploring the alley, as megabooths blocked out the sun...I mean view.  The economy has been on shakey legs since 2009, and 2016 was a rough year for many families, which restricted the disposable income that constitutes most kids' allowances. This combination meant that at many cons, sales were lackluster, and the reliable source of income wasn't so reliable anymore.

Even at the best of times, convention work was pretty much convention only- that audience did not follow me back to my Twitter, Instagram, Tumblr, Youtube, or even my webcomic.  While they were delighted, even enraptured sometimes, to see me at the show, and sales kept me so swamped I couldn't go to the bathroom for eight hours, those sales and that praise ended when the con closed Sunday afternoon.  No matter how much promotion, prep, or panels were prepared, the conversion rate was embarrassing.

During this time, I had shifted my focus away from industry work (so many non responses and rejections) towards self employment, and this meant that the proverbial con floor dropping out from under me caused quite a bit of anxiety and stress.  For awhile, I tried more impulse buy items- amped up sassy button production, more stickers, more mini prints, more ribbons and other cutesy knick-knacks, but the battle for the buck felt futile, as I spent more and more time on meaningless con assembly, and less time on comics or art. 

Something had to give.  I had no intention of competing with print-walls by upping my fanart print quota, no intention of treading in copyright waters with fanart charms or printed bags.  I had to remember why I started doing conventions in the first place- to sell original art, to create commissions, and to engage others, and focus on  pushing that in my daily non-con life.

In a way, the drop was beneficial- I launched my Patreon ), I launched 7" Kara as a webcomic, I launched a Youtube channel, I started pushing Amazon Affiliate links. Although all of these sources of income are fairly minor, they could earn money in the background while I put together a kidlit portfolio.  I focused on working on 7" Kara, and a pitch comic for a publisher's contest.  I stopped relying on the convention audience, who were so enthusiastic at the show, but so invisible after, to help me build a career, and started all over again, from scratch.  The financial pinch is still ever present- conventions changing really hurt my bottom line, and none of the above have come close to bridging that gap, but I think I'm also in a better place to start a career.

If there's something you can take away from this, it's that if you enjoy art and illustration, if you want to make a career as a comic person, don't allow conventions to distract you away from your end goal.  Don't allow one weekend of great sales to shift your focus from original content to nothing but fanart, because eventually, that floor may fall out from under you, and without original content, you have little to show for all those years of work.

Thursday, April 20, 2017

So You Want to Sell at Craft Fairs


I've done anime, gaming, comic, and even a few furry conventions over the years, but at my seven year mark, I feel like I've hit a bit of a dead end.  Sales are GREAT at the show itself, but there's no follow up, no post con interaction, and I felt like I was burning myself out.  These events usually run from one to three days, are indoors, and are limited to one table, and tend to only attract people interested in that niche.  Most of these events also charge entry or badge fees, and many of the three day events encourage attendees to book a hotel room or pay for parking as well, making the cost of general attendance quite high.

Although I've had success at anime and comic conventions selling my comic, 7" Kara, and my mini comics, I wanted to try family events, as my focus is kid lit and kid friendly media.

This weekend, I broke out of my comfort zone, and tabled at the Nashville Cherry Blossom Festival.  I wanted to reach a new audience- parents with small kids, grandparents, general art fans, and I wanted to start tabling at craft fairs.



I offered to share my tent, tables, and booth fee with a couple other Nashville artists, who shot the idea down as being too risky.  We all sell paper goods, and they feared the weather would conspire against us, and that sales would be poor.  Despite their misgivings, I carried on anyway, and I'm so glad I did.

I've stopped doing convention reviews on this blog due to the massive time it takes to compile the information, but if you enjoy posts like this, and would like to see more convention reviews, as well as convention tutorials, tips, and tricks from an expert, please consider backing my Patreon.  My work for How to Be a Con Artist (Nattosoup) is pro bono.

Prep before the show:



Before ever applying to Cherry Blossom Festival, I'd found a large beach tent for sale on Slick Deals- exactly the size I needed to do outdoor events.  I already owned a 6' table as a 'demo table', and a 4' table had been purchased when I was planning on acquiring a laser cutter.  I also had a couple folding outdoor chairs that were kept in storage.

I've applied to Tomato Arts Festival and TACA (as a paying member) for years, with no acceptance, so this year, I decided to create a demo setup on my driveway, to show proof of concept.  The demo setup took an entire afternoon, but helped me solve many problems in advance, and provided a necessary blueprint for at show setup.

When applying to Cherry Blossom Festival, I added these photos to my convention portfolio and mentioned that they should focus their attention on the craft fair setups.  I feel like this demo setup really helped me gain acceptance, as it showed that this little anime con artists was capable of more than just con commissions at indoor shows.

At the show:



As you can probably see, I really amped my branding up.  Banners, banners banners!  There's a standing banner, my 6'x2' con banner, and my 6'x3' banner.  Since Cherry Blossom wasn't providing maps, I wanted to make it crystal clear whose booth this was!


When applying for Cherry Blossom, tent walls were an option that wasn't offered for those who brought their own tent, but I lucked out- the tent behind me did pay for a tent wall, providing a nice backdrop!  My modular gridwall helped me block off space from the next table (anime figurines), and helped define the space as a coherent whole. 

I wish that I'd had time to plan out a themed booth a bit better (I had big plans!) but March and April have been a huge crunch for me.  Next year, I'm going all out!


As you can see, I'm lost when I'm sitting, so I opted to stand, which allowed me to better engage customers.

The cute little shelves are actually matching shower shelves that I picked up from Marshall's!



Perhaps if the minis had been on the main table with me, customers would have been more likely to pick them up and flip through them.



Those of you familiar with my convention setup will recognize most of what's on the tabletop- the only real difference is that with the extended space, I can display more originals and give things a bit more space!

For Nashville Cherry Blossom Festival, you don't need to own your own tent, chairs, or tables- you can rent them, but owning them, especially if they're purchased in advanced on end of season sale, can really help cut down on your costs.  Purchasing my blue tent for $85 cost less than renting a tent, although I was responsible for set up at the show (though there were wonderful volunteers to help!)
Setup was from 8:30-9:30, with the Cherry Blossom Walk beginning at 9:30.  Sales didn't really start until around 10:30, but were steady until 5:30.  Fortunately, Joseph was there to help- he handled sales while I ate, went to the bathroom, or was busy conducting other sales.  Bringing an assistant who is familiar with your merchandise and your work methods can be a HUGE help.


Con Recap


What Worked:
  • Mini prints (both fanart and original)
  • Stickers
  • Charms (all original)
  • Original watercolors
  • 7" Kara
  • Japantrip
  • Pre-Sale Commissions
  • Standing for the majority of the day- otherwise I was lost behind the table!

What Didn't:
  • 31 Days Under the Waves Coloring Packs (I think people didn't know what they were)

What I would change:

  • Load in-load out- I need a folding wagon, hauling stuff is for the birds!
  • Better gridwall for gallery- the modular grids are a little too shakey for bigger shows
  • Heavier signage- wood or laminate
  • Raise tent higher

What Worked, but was out of my control:

  • The weather was amazing!  Very mild all day long
  • The crowds were dense, and happy to be there.  I've attended CBF for four years now, and this was the best crowd yet
  • A lot of my MTAC kids were at the Cherry Blossom Festival, which allowed for con pre-orders
  • Free admission meant people were willing to spend a bit of money

Differences Between Indoor Comic Shows and Outdoor General Shows:

  • Weather can make or break the event for outdoor shows!
  • Admission cost comes out of your pocket too- free admission shows that are established mean people are often willing to spend more on vendors
  • Scale your setup to fit your tent
  • For one day events, bring your A-Game from the get go!  There's very little downtime, but your sales window is much smaller
  • There's a good chance you'll be setting up your own tent, tables, and chairs, so keep that in mind when planning your time
  • Tent events tend to have larger spaces, so you can really spread out and maximize your display

Similarities:
  • A good setup can really help make your sales for you
  • Always. Have. Business. Cards (or postcards, or stickers)
  • Bring an assistant if you can

Craft Fair Starter Kit:
  • Mass market merchandise (like my wooden charms, children's comics, or watercolors)- merch that appeals to a more general crowd
  • Table+table cloth
  • Folding chairs
  • Display supplies- easels, plate stands, tiered stands
  • Larger display items- gridwall, floor easels, print racks
  • Your change box, method of recording sales, commission book (if you offer commissions)
  • Business cards!
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