Public commentary - Page 6

Heidi Maiers · 08-10-2003, 08:16 PM

I would definitely recommend anyone trying to sell at a public show to have a demonstration piece in process that they can work on while the people stroll by your booth. If you sit in a chair waiting and watching for people to stop, they will just keep on walking 90% of the time. The minute I get up and start to work on my piece, I am soon surrounded by a large crowd of people. As soon as one person gathers the courage to speak or if I turn around and acknowledge their presence, a never-ending series of questions ensues.

I think people are more prone to take interest in your work if they don't feel that you are waiting to make a sales pitch to them. I don't feel I am snubbing them if I am working, especially since I rarely work over 5 minutes without having to stop and answer questions.

A work in progress is a great conversation starter. The children are especially intrigued and it's a great feeling to see the wheels turning in their little heads wanting to be able to make what I am making. Many of them ask for a small piece of clay before they leave and I know it is their first experience with this marvelous medium.

I have never had a customer say an unkind thing, but at my first show, I did stick my foot in my mouth and unintentionally insulted a customer. A quite unappealing looking man with a lovely woman came to my booth and the woman proclaimed "Look dear, that looks just like you" pointing to one of the busts on display. Trying to start a conversation I quickly replied with "Oh, I certainly hope not, that's my husband" meaning that her husband and my husband looked nothing alike, so I must have not captured a very good likeness.

I saw instantly by her expression that she took it to mean "I hope to goodness my husband doesn't resemble your husband, he is hideous". I learned it's just as easy to misinterpret what someone says to you as it is for someone else to misinterpret something you say to them.

Mike McCarty · 08-10-2003, 10:17 PM

Heidi,

I agree about the being busy with a painting. I keep a work in progress on my easel at all times. It's not enough to just sit at the easel, it makes a big difference when the brush is in my hand and I seem to be in the process of creating something. This will spark much more interest and curiosity than if you just hang around in the vicinity.

In my situation there is not a steady stream of visitors, particularly in the middle of the week, and at certain times of the day.

This is the front facade of the building where I have my studio.

Mike McCarty · 08-10-2003, 10:26 PM

This is quite a large space with some 125 vendors of mostly upscale home furnishings and interior design stuff for the home. I am the only one doing what I do and I am the only one that actually works the space during the day. All the rest just leave their wares and let the staff transact the sale at the front register.

From the front door the building extends a good ways to our right as this picture shows. My space is on the right where the building makes a slight angle. Just to the right of me is the market restaurant. I am lucky to have the large window to the north.

Mike McCarty · 08-15-2003, 10:23 AM

I thought I might show my inside space. This first shot is of the left side of my space, which is not technically mine (I don't pay for it) but by agreement I am able to use it. The furniture pieces are consignment items. The drawings on the wall are mine as well as the reflected ones in the mirror.

Mike McCarty · 08-15-2003, 10:27 AM

This is my working space. The window between the two walls is about fifteen feet long, hard to photograph with all that back light. Maybe you can make out my new, me at 10, self portrait back on the easel.

Mike McCarty · 08-15-2003, 10:34 AM

This is my competition down the hall. You can either buy this or a head and shoulder oil painting, same dollars. I'm not sure what this thing is but it's sure an eye catcher.

Mike McCarty · 09-01-2003, 07:44 PM

From my public space I put up a flyer inviting anyone to join me for a drawing class on Saturday morning.

I typed up some pearls of wisdom from a couple of my favorite books, Art & Fear by David Bayles and Ted Orland and Harold Speeds The Practice & Science of Drawing .

I had one lady show up. I think she said she was 75. She was very spry for her age and had an admirable curiosity and desire to learn. I did my best to convey some of what I know and she was a real delight for the hour we spent.

We drew a cowboy boot and passed a good time.

Kimberly Dow · 09-01-2003, 09:48 PM

Good luck Mike, you are going to do this again right?
I bet you'll have a better response on a weekend that is not a holiday. Even my pre-paid students do not show up on anything even bordering on a holiday.

I have a suggestion also. If you want to teach kids go to the closest school that has the age you'd like to teach. Bring a bunch of flyers and chat up the office staff. They will usually pass them along to teachers and then the teachers to children. Private schools are wonderful for that since those are the parents who can most afford it, (offering a discount to siblings is a great idea also).

Margaret Port · 09-03-2003, 08:01 AM

Ah, poor Mike. Nice boot tho'

This could be a whole 'nother thread. Art classes that didn't happen. Never mind, you are not the first this has happened to. I once got first grab at a fully set up pottery studio in a school. Only condition on me using it was I had to teach adult classes for free. Not a problem. Put notice in newsletter and the students will come... NOT... I advertised and over a 10 week term at the end of the year I had the odd taker, every so often. Nobody loved me.

In the new school year, I advertised again and 35 people turned up for the first session. I was impressed!

I've taught adults and children. If they start at the beginning of the year, it is because they want a new hobby. Towards the end of the year, it is because they want to make Christmas presents (in my opinion).