Don’t Display Prices and other Convention Artist’s Tips

I lay out many of my own convictions and mantras (Enfuisms) in my book Enfu: Cute Grit.  
Reading about other Artists' struggles, blaming the cosplayer con go-er without really addressing first what the Artist can do to improve their relevancy, I’ve decided to write about what I do to hustle at conventions and my own struggles to stay relevant and engaging. This post is for Artists at cons specifically, take it or leave it. If I were you, I’d leave it. For you skimmers and TLDR’s here’s the short list up front:
1) Don't display prices.
2) Stand up all day.
3) Profile people.
4) Business cards are bait, chum the ocean.
5) Sell you first then your art.
6) Mine for information.
7) Evolve your layout each time.
8) Literally stand behind your work to strengthen your convictions.
9) “Good art sells itself” is a fallacy. Props & gimmicks work.
10) Count connections before counting money.

1) Don't display prices.

  • This advice is counter intuitive, I know.... But now you’re reading this so it worked. But the advice isn’t just click bait. I follow it. Here is why. I find that many people at cons just don’t take the time to read. In my early con days I didn’t include the price because I didn’t know any better, so I had to say the price of each item as part of my first pass pitch. My neighbor who had to endure listening to my pitch over and over again did me a solid and wrote the prices down. So then I stopped saying the price and pointed to the signs. The more cons I did, the more I realized people kept asking me the price of things even though I had written prices on each item anyway. So the next year I printed them with bigger fonts on bigger cards. So big that the price tags started to block parts of the art. People still asked. I had an AHA moment when realized that I do the same thing myself. I went hunting for some goods scanning left and right quickly as I weaved through the crowd and I saw something I absolutely must have. So I asked how much it was. The Artist told me the prices are next to the item. I refocused to realize that yes indeed each item had a price next to it.  I had decided I wanted the item before I cared about the price. I did the exact same thing that annoyed me so much as a vendor who went through the effort to put prices on everything just to be verbally asked anyway. So rather than scattering prices all over my images taking up precious real estate i removed them all together and I never mentioned the price in my first pitch pass. I realized after 6 yrs of doing this that IF someone asks me the price of something, that is their tell that they are interested. This is part of what it means to mine for information. (see tip #6).You can read their expression to see if the price is ludicrous or reasonable. I’ve had people scoff and say in the same breath “that is way too expensive” and walk away indignant. I’ve had people scoff and say “that is expensive” and then proceed to hand me the money. I’ve had people tell me ‘Wow, that is a GREAT deal!” Another great benefit is after you say the price it really squeezes an In/Out response from the customer. They will either disengage or hang around or pull out their wallet. Ironically you find out more about what your piece is worth if you don’t display what you say they are worth.  

2) Stand up all day.

  • You are more actively engaged with people when you are on their same eye level. It is the same reason you stand your prints vertically and not flat, and the same reason kids cereal is placed at their eye level. You just have to be visible. You can move around and hand people business cards (see tip #4 ) You are visible and thus able to sell you (see tip #5).
  • You can draw any other time. When you’re drawing, people don’t feel like you’re approachable. When you’re actively doing something you can’t hold conversations. But if you must draw, draw for people quick sketches in their books or on your prints you sell. If your name alone sells and there is already a line waiting for signatures, sure, have a seat. But if you’re not famous and you have no handlers and there is no queue, try standing. If your way of connecting to other Artists is through drawing, the price of a coffee is much cheaper at the cafe around the corner. While you're here, engage.
  • Body language: It is real. (see tip #3) Your body is saying something even if you’re not. The hunched over and busy drawing is projecting the message that you’d rather be engaged in your own work than be available for a conversation. It is the equivalent of checking your phone while at dinner. If you’re hunched over and your body is small you’re projecting insecurity. You think it, you show it, and you think it again. It is a cycle. Break that cycle by standing up, not frowning or looking sad, don’t slouch, and have an open stance. Think positive thoughts, project positive body language.

  • It’s not in my personality to _______. What if I say it isn’t in my personality to apply paint using square brushes? You’d claim that’s an excuse. I really don’t enjoy public speaking. It frightens me actually. So I try to go and give talks now and then to challenge myself. Standing up makes you more approachable. Being approachable, having gumption or chutzpah is not about personality, you’re not born with it, it is learned, just like your skills of drawing. You worked hard to get where you’re at, work a bit harder to learn more salesmanship.  Let’s just be honest here.
  • Face it. The real reason salesmanship is hard, especially when you’re selling your own work, is fear. It is hard to believe in yourself.  Literally ‘standing behind your work’ is hard. Not to mention physically draining. (If you must sit, get a chair that lets you sit higher.) I have flat feet, so I find it really hard to stand long hours, so I compensate by laying a squishy mat on the ground. Also you feel vulnerable to passing judgement. I know...it’s just not who you are. You are shy. I get it. Drawing is a very solitary activity. I spend thousands of hours alone while drawing with nobody in the room but me. I prefer that too. Remember the reason you’re here in the first place is to connect with people or make a sale. You bought a table with thousands of people passing by you physically, don’t then just sit there! That requires you to flip on your extrovert switch and turn on the version of you that burns more physical and emotional energy. I force myself to do this too. So can you.

 

  • When I was in New York I just sat in Bryant Park and observed a street vendor sell his food for over an hour. I watched closely how he interacted with customers, and what he did when there was a lull in business.  He was either attending to what was on the grill, rotating drinks into the cooler, wiping down a counter, adjusting the foil off the grill, moving the steak weights, adding water to the food, conversing with customers, or taking multiple orders at a time. The staggered umbrellas all held menus, viewable from multiple angles, LED lights that weren’t really as eye catching during the day were oases of light at night. He was one of thousands of grandmaster hustlers competing for your stomachs. Artists at conventions should be grandmaster hustlers competing for your eyes. Be visible, be standing.

 

3) Profile People 

  • Visual Artists observe and interpret. Use that skill of observation to good use. Some conventions help you out by categorizing badges into different categories. (Press, Industry, Exhibitor, Saturday Pass, All Access Pass, 3-Day Pass, Buyer, Guest, VIP, etc.) Each pass tells a story. If they’re a 3-Day pass the likelihood that the first 2 days they’re window shopping and will buy on their last day. If it is a day pass the likelihood is that they’ll make a purchasing decision that visit and this is the only chance you’ll get. If they’re Industry ask them what company they work for, or what they do, or if they themselves are Artists. Genuinely be curious as to who they are and what they do. Your goal is to connect with people, so connect with people. You may unravel the reason they like your work. You may have just found a potential buyer or vendor or manufacturer or wholesaler or a fan or future employer.
  • Know your audience? By now you know who likes your work. Or you think you know. You think you know because you assume without fully mining for data. (see tip #6) You think person Type C likes your work. So when a Type C comes by you may hand them a card. Try handing a card to a Type D. This is your chance to prod and poke for more info. Don’t just confirm what you think you know.

4) Business cards are bait, chum the ocean.

  • Business cards are cheap these days. Don’t be stingy with your cards. They are not made of gold. I take the Dandelion spreading seeds in the wind approach. Chum the waters with your cards and fish for sharks. Sometimes I see my cards on the floor as I leave the convention. To me, that is a good sign.
  • Use this distribution method as a real world hit counter to add to your data of how much traffic you got in this Con vs another one.
  • Handing a card forces a tell. You will know if they don’t have time for you quickly. You will know if they are happily surprised by your card. You will know as soon as they’ve glanced in your direction if it was interesting to them.

5) Sell you first then your art.

  • Tell people you are the Artist or that this is your work. Some people apparently assume you’re a rep that was hired to sell for the real Artist. Sometimes you have to tell people that. Often times eyes get wider and people immediately get excited to meet the actual Artist.
  • People could have viewed inspirational art images from their computer via Google image search. They came here to meet the people behind the art. So meet them. Tell them about you. If you don’t, they’ll ask. If they keep asking, keep telling them. Let people get to you know you, but beware the black hole of the talker...if they take up too much of your time, ask them if they’re interested in buying something.
  • Tell people about stuff you’ve worked on or where other people may recognize your work. “My work is on the walls of Blue C Sushi”,  “I designed the Uwajimaya bags”,  “I’m a video game artist, I’ve worked on titles such as Halo 3 to Scribblenauts Unlimited.” I used to really have problems with invoking titles I’ve worked on because of self imposed guilt and fear of being accused of BIRGing (Basking in reflected glory). But I observe comic artists selling their drawings of Superman or movies being sold with the copy such as “From the people who brought you (insert badass title here)” I realized sell you first. Enfu isn’t the Halos. Enfu isn’t the Scribblenauts. I worked on those titles with my blood sweat and tears and my experiences working with super talented people like that have made me me, but what I’m selling now is something else.

6) Mine for information.

  • If you’re all over social media, you already know a bunch about who follows you. Digital data mining only can go so far. There are gems of info out there you can find out in real time. I found out someone bought my work from Good Will. I found out that a restaurant that bought rights to a specific piece used another piece I specifically told them not to use. I found out that a little girl used all her money to buy a print. They will tell you what they think, something that really can’t be communicated with a Retweet, Like, Regram, or Reblog.
  • Test all the theories in your head in the wild. You get to see in real time real peoples’ reactions to your work. Too much emphasis on the craft without seeing through to how normal non artists see your work can really put you out of touch with what sells. Remember, you are standing behind a table to mine for data. You’re pursuing mastery the rest of the year. Often in my observations the content of your work is what engages people, not necessarily the impeccable rendering techniques, style, nor the composition (insert any art theory here). Observe how people choose to connect to your work in the wild for yourself.

7) Evolve your layout each time.

  • It comes down to reacting to the information you are mining. You saw with your own eyes because you were standing to observe people (see tip #6) what people were drawn to. Maybe the thing you thought would sell didn’t sell as well so you’re giving it more real estate or you’re arranging it in a different spot. You have multiple days to do AB testing. Try something different to see if it works. Either way a new layout makes for a more interesting booth for the people who have come back.
  • Adjust per con and rotate in your newest work. At some point you will have so much work you’ll have to rotate out your old work. If you’re displaying the same art every year then get to work.

8) Literally stand behind your work to strengthen your convictions.

  • There is a reason religious evangelism and political signature gathering activities are useful methods of indoctrinating people to solidify and entrench their beliefs. Exposing yourself and willingful participation in a position of vulnerability forces you to dig deeper for your own personal Artists’ convictions to hold on to.  If you’re unsure of what your style is, or what your art is about, literally standing behind your work while hundreds of people question you will help you figure it out much quicker. So don’t wait to try conventions until you’ve gotten things all figured out. Go and do them and enjoy the journey (all the cons/shows in my quest so far). (Below is Enfu x Crayon Monsters x Giant Robot at SDCC14)

9) “Good art sells itself” is a fallacy. Props & gimmicks work.

  • The trouble with this claim is what is ‘good’ anyway? Creators want to believe the sole quality of their craft will be rewarded because of innate pride in craftsmanship. Not being able to see past the creation phase of a product and not following through to the delivery of said product is a bit irresponsible.  If 0-10 was a scale between inception and a product being delivered, 0-1 is the inception, 2-8 is the nitty gritty devil in the details production and engineering of the product, and 9-10 is the testing, sale, delivery, and support of the product. I believe respecting the craft of 0-10 makes you better at any of the respective disciplines you really want to master.
  • “Gimmicks and other such devices are seen as novelty and as a way to compensate for shoddy craftsmanship.” Often the word gimmick itself is pulled out in a pejorative critique or when writing off an Artist or product.  True to the beliefs of one who spends more time creating products, but I suspect not so true of one who has to sell them. I’ve been instructed in the ways of controlling the viewers’ eye movement along the page of an illustration using solid techniques such as composition and contrast. You can apply that with using props or other forms of marketing to help guide an attendee to look at your work. My circle of friends are overwhelmingly on the side of the creators and not many salesmen, so I often wrestle with this attitude. A true craftsman ought to respect the techniques of a true salesman. I’m currently neither but I’m learning.

10) Count connections before counting money.

  • $ is one metric of a successful convention showing, but it most definitely should not be the only one. Who you meet can be worth way more than the money collected. My stack of business cards I collect are all leads that are super important to me. I follow up with people as soon as possible.
  • Everything depends of course on your goals as an Artist. But if you haven’t even thought of what your goals are to begin with then you ought to. Try to identify potential vendors, distributors, agents, manufacturers, printers, publishers, press, collaborators, partners, etc. Not just customers wanting to buy your work directly.

Make your own list of things that work. Don’t listen to anything I just wrote. Ignore it and explore yourself. I dare you to write your own. I wrote this list as a reminder for me to continue the hustle, and to promote my book containing a decade of hustle, in case you missed the plug in the first sentence. You can follow my facebook fanpage here to see what I'm up to now.