Lured by the enticing scenario of turning sawdust into gold dust, conference attendees were at least entertained, and definitely informed, during three 105-minute sessions, which offered business advice for studio furniture makers.

A wide range of approaches came from diverse panel of Garry Knox Bennett, Scott Grove, Michael Fortune, Mark Levin and moderator Andrew Glantz. While Fortune enjoys the creative freedom of commission work in Lakefield, Ontario, Grove relies heavily on design and time management software to guide Concept Grove Inc. in Rochester, N.Y. Levin, the meticulous and goal-oriented solo maker in San Jose, N.M., was at the opposite end of the spectrum from Bennett, a free-spirited artist from Oakland.   Bennett’s business advice included the following: He started out by making roach clips (drug paraphernalia) in the ‘60s and sent them to head shops across the country. An invoice was included, which stated, "If you sell these, you owe me $20." "About two weeks later I started getting all this mail with a $20 check and an order for $100 worth of roach clips," he said. "There was a lot of trust on my part, but it was unbelievably successful. I realize you can’t send a Philadelphia highboy out to 5 places, but if you have a small product it might be worth a try."

Publicity and portfolios

The differences were obvious as they opened with a discussion on marketing.   Levin’s marketing plan is tied to his goals for the next three, five and 10 years. He has hired a part-time publicist and mails press kits to publications every quarter. "My work in the shop is almost meaningless unless I find a way to get it out there," he said. That includes placing his Web site address on every piece that leaves his shop.   While Fortune has a very small mailing list of 6 to 10 repeat customers at any one point, Levin is a proponent of scouring the real estate transactions for sale of multimillion-dollar homes. He also jots down names of collectors and donors at art shows, and brazenly admitted to visiting the sites of other wood workers for client information.   Earlier in his career, Fortune kept his portfolio up-to-date, but hasn’t found much use for it over the last five years. "My clients already know what I’m doing," he said. "But at the outset, photography is really important."   Grove uses his Website as his primary portfolio and stressed the importance of updating content.   Bennett said he was more interested in making things than promotion. But we also learned about his Web site and book ("Made in Oakland: The Furniture of Garry Knox Bennett," American Craft Museum).  All of the panelists agreed that the best publicity was free publicity.

Computers rule

Galleries

Bennett has had a long relationship with galleries, and it works for him. But he told the audience that you’re really going to have to look at the customary 50-percent commission charged by galleries if you want to take that route.  "Galleries can be painful to deal with," he said. Their costs are great, but what I found is that galleries are the quickest and the best way to increase your prices."   Fortune does not show at galleries, but does get referrals from them. In turn, he usually gives them 10 to 20 percent of the commission.   Grove sought out galleries to increase national sales. He had a tough time getting in until he started exhibiting at wholesale shows and is currently represented by about 20 galleries.   Grove also does a lot of work through designers and described them as a wonderful source, particularly for commercial jobs. "A good designer can certainly be your best salesperson," he said. "They’ll go into a client’s house and say, ‘You’ve got to use Scott Grove. He’s going to make you a dining room table.’ Their reaction is ‘Sure.’ They’re paying him for that service."   Levin thinks galleries are a horrible business decision for a laundry list of reasons, including the requirements of exclusivity, high commissions, costs associated by the maker including shipping and damages to the furniture, and tied up inventory with no return until well after the piece is sold.   "Galleries hold all of the cards," he said. "And they know it."   That is what you have to make peace with."   Levin has apparently made his peace, since three galleries represent him.

Commissions

Three of the four panelists work almost exclusively by commissions, though their approaches differ.   Fortune does not enter into written contractual agreements. Instead he prepares his design and meets with the client. He then figures out how many weeks it will take to make the piece and gauges the customer’s response before naming a price. He leaves with the design and sends a brief letter, which mostly asserts Fortune’s "enthusiasm" for the project.   "It’s a personal-trust thing, and I’m going to do everything I can to make this a pleasant experience," said Fortune. "The whole notion of having to write all that stuff down …If somebody came into my house and wanted me to do that, I would be suspicious."  Levin, of course, has all sorts of contracts, beginning with the preliminary design contract. He dots all the I’s and crosses all the T’s.   Grove does a little of both. Whatever takes the least amount of time to get the deal done.   Bennett avoids commissions because of headaches associated with dealing with the customers. "I’ve been able to insulate myself from something I don’t want to do which is to promote myself," he said.

Trade shows

Levin said if you go to a trade show expecting sales, prepare to be disappointed. Success depends on pre show planning, sales skills, and follow-up efforts with customers.   Levin’s primary reason for exhibiting is to attract gallery representation. "You’ve got to have a plan and you need to market it. If you don’t, I wouldn’t even bother going. One reason we call them trade shows is I want to take the romance away from them. It comes down to this: you’ve got a product and you’ve got to move it. It is from the standpoint that it’s hand-made and it’s important to talk about that as a tool. But it still comes down to you made it, now how are you going to move it."   Grove has also taken the approach of doing trade shows to obtain gallery representation. "The mistake a lot of people make is they [exhibit], don’t sell anything and don’t come back the next year," said Grove. "You have to make a long-term commitment."   Grove noted that it’s important for your work to stand out at shows.   Fortune has done shows associated with the interior design trade. He did a three-year run, which he considers the absolute minimum for any show, and wanted his booth to stand out. He purchased a larger space than other exhibitors, built a booth and filled it with furniture borrowed from past customers.   "What I was after, more than sales, was publicity," said Fortune. "And that worked great. I had the best booth and a photograph appeared on the front section of that week’s newspaper."   Bennett asked if they were really worth the time and money. "I always wanted to ask, ‘can I have a booth to sell beer and sandwiches?’ Those are the guys who make money. The rest of the [exhibitors] are like the entertainment."