But, the size of the site plus the limitations of single categories… even I couldn’t find articles when I wanted to refer people to them.   I mean, did I list the article about gesso in my “fine art” section or in my “art journaling” section?  Was letterboxing in the “rubber stamps” category or in “make the world your art gallery”?

Also, being a prolific writer, I struggled to keep the sitemap current.  I just didn’t have time for that.  Arrgghhh!

So, I split my sites into smaller, more navigable sites.  That didn’t solve the problem, but it seemed to help.

It also created two new problems:  Many people didn’t find my other websites with related information.  That is, people who visited WildArtDolls.com didn’t realize that I also had a fabric art website with even more about working with cottons, among other topics.

I also lost a lot of name recognition.  To new visitors, I became, “Aisling… who…?”

And, people visiting one site — this one, for example — thought I’d lost interest in art or something, because they didn’t realize that I was cranking out articles at another of my many websites.

Once again, mimicking Lucy (of Charlie Brown fame):  Arrrggghhh!

Finally, help arrived.

WordPress has solved these issues for me.  With new navigation and search tools, I can reintegrate most of my articles at Aisling.net.  (The individual sites that have distinct identities may remain separate.  Or not.  I’m still deciding.)

But, nearly every artist who wants business tips is — first and foremost — an artist.  So, you might also enjoy my articles about art materials and techniques.

So, this “Business of Art” website is the first one returning to Aisling.net.  In fact, most of this website’s articles are now at that site.

The short-term issue is the homepage.  Until I switch from www.Aisling.net/index.html to Aisling.net/index.php, the default will be the old Aisling.net homepage.

So, you’ll need to use my Aisling.net/sitemap to access the site… for now. [Link]

I’m going to phase out this website during 2009.

To read my most current articles, visit the new/old site.  I think you’ll be surprised when you see the amount of help that’s there.

So, I split the articles into logical categories, and placed each group at its own website, including this one.

I didn’t stop to think about the work involved in updating six websites instead of one… *rueful chuckle*

But, now that I’ve discovered this magazine-style format and how easy WordPress is, I can restore all of my articles to Aisling.net and easily add more!  And, with the search capabilities of WordPress, visitors can stay at Aisling.net to read about marketing, my latest discoveries about art materials and techniques, my newest favorite books, and so on.

Moving all the articles back to Aisling.net, and putting them into WordPress format, will be my (very) big project this winter.

Anyway, I wanted to let you know this in advance.  I’ll put a redirect from this website to Aisling.net when the task is completed, so links will still work okay.

I’ve started around 20 (or more?) Yahoo Groups, including AJmarketing, wildartdolls, and ArtistsJournals2 (AJ2, now WAJ2).  When they become too popular for me to manage, I generally turn them over to new owners and moderators.

So, when people need to change Yahoo Groups moderators or ownership, they often ask me how to do this.

Here’s how to switch moderators/owners at any Yahoo group:

1. The current moderator/owner goes into the list of members.  That’s accessed by clicking “Members” in the left column at the Yahoo Groups page.  See the long, tall graphic at right.

2. Click on “Edit membership” under the name of the person who will be the new moderator/owner.  (See the second illustration, below.)

3. Click on “Change to owner” … or “Change to moderator” if that’s more appropriate.

4. If the person is simply being appointed as a moderator, the owner will assign privileges in the next screen… how much the new moderator is allowed to do, that affects the entire group.  (For example, unless the moderator is trusted, the owner might not want to give him or her permission to delete the entire group.)

5. Click “Make moderator” or “Make owner” at the foot of the page.  At the next screen, if you’re back at the individual’s membership screen, click “Save changes”. (That’s important.)

6. The new moderator/owner will receive notice of the change, and may have to reply that it’s okay.

7. If the old moderator/owner is leaving, he or she will go to his (or her) own membership page in that group, and select “Make member.”  Be sure to save the changes similarly to what you did in step 5, above.

8. If the old moderator/owner is leaving the group, he or she will then choose “Leave  group” at the group’s homepage. (There may be a similar option at the membership page.  Either one will work.)

That should do it!

My new edition of Sites That Soar! is for users of WordPress 2.5.x, and it’s online now!

This new edition is 72 pages long. That’s nearly one-third bigger than the previous edition. As usual, this one’s loaded with step-by-step instructions, screenshots (from WordPress 2.5.1), plus cut-and-paste tweaks for your website.

It also contains lots & lots of links to free and inexpensive tools to make your website gorgeous… and really easy to maintain.

This update was a major project, but I’m pleased to know how much time it’ll save my readers. (People are already raving about my new chapter explaining how to find Category numbers in WordPress 2.5.x.)

Late yesterday (Thursday, June 26th), people who purchased the previous version were sent a link to a free copy of this new edition.

If you bought the first edition before June 27, 2008, and didn’t receive your link to the free update, use the Contact form at the top of this page. Tell me your name (PayPal email address) and the date that you bought the book, and I’ll resend the update link.

Thanks to everyone who sent questions and ideas for the new edition. I included as many as I could, and I’m grateful for your suggestions.

The new edition is for sale at http://www.SitesThatSoar.com/ It’s available for immediate download, even at 3 in the morning!

You’ll love all the screenshots. They make it easy to build your own gorgeous WordPress website!

And, if you tell your friends about this book and they buy it, you’ll earn a 50% commission. (You can do this whether or not you buy the book. Here’s the free signup page: https://www.e-junkie.com/affiliates/?cl=13015&ev=b806d355d3 )

Note: The old edition is still for sale. After all, many people are still using WordPress 2.3.x

I’ve reduced the price of that book, since people who buy it now won’t get the free upgrade to the WordPress 2.5 edition.

That book’s sales page is at http//www.SitesThatSoar.com/ebook.html

It’s still available as an affiliate product, too, paying 50% for every sale.

I’ve written a complete article about this at my Sites that Soar! website. You’ll see more screenshots there to make the solutions simple.

In a nutshell, here’s one way to deal with the problem if you’re using WordPress 2.5 and Branford Magazine (or Mimbo) for your art-related website.

1. In your WordPress admin panel, go to Manage > Categories.

2. Roll your cursor over the name of the category for which you need an ID number.

3. Look at the bottom of your screen. At the lower right corner, you’ll see a line that looks like a URL. The Category ID number is at the very end of that.

In the screenshot above, the Category ID number is 4.

For other solutions to this problem, see my article, Category numbers and WordPress 2.5, at Sites that Soar!

MORE LIKE THIS

If you like the website design at this site, The Business of Art, and you’d like a similar design for your own website, it’s easy!

Get a copy of my book, Sites that Soar!, which explains how to install (free) WordPress and the (free) Branford Magazine theme.

It’s filled with easy, step-by-step instructions for NON-techies.  I even include screenshots (like the one above) to show you exactly what to do.

UPDATES

If you bought my book, Sites that Soar! and want to know when I’ll add WordPress 2.5 information:

As soon as the dust settles on the new WordPress 2.5 design, I’ll update the book with a complete section just for WordPress 2.5.

Right now (April 2008), new plugins are being developed, older ones are being updated, and I think we’ll see changes in WordPress 2.5 shortly.

This is why I recommend WordPress 2.3.3 (the previous version) until at least June 2008.  If you have a choice*, use the older 2.3.3 version of WordPress.  (Link to the free, zipped version of WordPress 2.3.3 - click here to download.)

If you have no choice — for example, if your hosting service only installs WordPress 2.5 — the major steps in my book apply to both WordPress 2.3.3 and WordPress 2.5.

*If you’ve already set up your website with WordPress 2.5, do not overwrite it with WordPress 2.3.3.  I tried it. It’s complicated.

It reminded me of the potential leverage of past accomplishments.

As artists, we don’t make our resumes (CVs) a priority. We participate in swaps, group shows, and see our works published in zines and magazines… and all we do is tell our friends.

Everything that you do as an artist holds the potential to move your career forward.

No matter how small the project, or how many other artists were involved, your participation is still news.

It doesn’t matter if you were part of the project because it was open to the public and you simply signed up for it. Frankly, art collectors don’t always know which are invitational projects and which aren’t… and many don’t care.

It’s the quality of your work that matters, as well as the audiences that see it.

Sign up for every project that you can, if you can participate with quality work.

Then, be sure to add your participation — and a photo or scan of the art — to your website and your CV.

Some of your most powerful leverage is what you create for fun. That’s where the best energy can be, and it’s the energy — not necessarily the technical expertise — that separates mediocre art from art that soars!

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.

If you’re doing business online, you need to hear this seminar series. Really. It’ll cost you $7 and take about an hour to listen to. Every subject is packed with information, tips and resources… no fluff.

It’s called the Seven Secrets Seminar by James B. Allen.

Following Mr. Allen’s advice, I tripled my online income in about three weeks. It’s not that he sold me on some get-rich-quick gimmick… he just explained how to organize my websites, how to set up my RSS feeds to reach more people, and where to get really valuable links to my sites.

Even better, my success has come from using just a few of his tips… and every one of those resources is free.

Listen to this series. You will thank me.

Here’s the $7 link: Seven Secrets Seminar.

(Yes, that is an affiliate link. I’d recommend this seminar anyway. If it bothers you that I earn a commission, here’s another link that I don’t benefit from. http://www.simplewebbusiness.com/seminar/ That reseller’s price is $17, but he includes some bonuses.)

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

The first cue is the quality of promotion. Does this fair have an online presence, and does their site look professional? (If not, tell them about my book, Sites that Soar!)

Do they advertise in local newspapers and magazines, or even in national ones?

If it’s a small show–perhaps a fund-raiser for a school or church–many crafters ask if they’ll have a food concession. If the show is professionally catered, it generally marks a well-run show.

Another cue is the sponsorship. If it’s an annual show put on by a town, there may be tremendous pride in how well the show is run. That’s a plus. If it’s a first-time effort by a youth group, it may be great, or it may be a lesson for everyone involved.

Check the show’s policy about vendors leaving early. Empty tables discourage shoppers. If the show lets vendors leave early without a penalty, the show can deteriorate pretty quickly. Many top shows declare that any vendor who leaves early will not be accepted for future shows. That sounds harsh, but it can be necessary.

If the show or fair is an annual event, the most reliable sources of information are other artists and crafters. Ask them. Online forums are useful, but–even better–ask people at other shows.

Ask your customers. “What other shows and fairs do you like?” can be a conversation-starter, and provide insights into what shoppers are looking for… as well as a list of worthwhile shows.

When the day is winding down, ask other vendors, too. Sometimes, your direct competition won’t chat with you, but crafters in other fields will. Ask them which shows they really like.

If you’re considering one show in particular, ask about it. Talk with several people so you hear a variety of opinions.

While you’re asking, get tips about preparing for that show. For example, are extension cords vital? Is there a parking area near the door for vendors to unload their cars and vans? Do the sponsors provide chairs or should you bring your own? (Is a pillow a good idea if their chairs are plain metal folding chairs?) Will most booths be merchandise on a tablecloth, or will some vendors set up impressive, professional-looking displays?

Take notes. After a show, you’re likely to be tired and forget at least some of what you learned.

Also, jot down notes from the show you were just at. What worked and what didn’t?

When you plan your schedule next year, your notes–about past shows and prospective ones–can help you make better decisions.