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We got 500 puzzles turned up and there was a print e them. The picture should have been centered and it was offset. That was a really bad moment. Like I've only had a handful of times when I've probably cried because that was a big freak out for me cuz I was like oh my God, I've got all these orders and I don't know what to do. And after I reached out to the factory and realized, well it's in China, like the time that it's going to take to reprint these, the waste all of that stuff for a small error. So I went back to all my wholesale customers and said, hey, this is the problem. What do you reckon?
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A
Wouldn't it be nice if your art business loved you back? Hi, I'm Stacey Bloomfield. After years of trial and error and late night doodling, I went from being a coffee shop manager to running a vibrant seven figure art business that I love. And now I'm on a mission to help more artists create an art business that they love too. So I invite you to find a cozy spot, pull out your favorite sketchbook and listen in. It's never too late to chase your creative dreams. Welcome to the Art plus audience podcast. Hello. Hello.
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B
Hey.
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A
So good to see you.
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B
Hey, it's so good to see you too.
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A
I'm so glad that we found time to chat. You do a lot of work with people in Australia, but you know, global audience, like how is it for you adjusting your time to fit all the different people you want to talk to?
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B
Yeah, it can be tricky. I mean people are so lovely and flexible with it. Like you've come after, you know, around dinner time. You've got a family as well and I've got a family. So it's this morning was pretty wild getting everyone packed into the car and off to drop offs and all that stuff. But I think people just make it work. It's really nice community it is, it's.
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A
The nicest community and like that's kind of how we met, through this creative community. Laura, why don't you tell everyone a little bit about yourself and the beautiful business that you've built?
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B
Yeah, so I'm from Melbourne and I draw the best bits of Melbourne. So my whole business is around my city. I draw the most iconic buildings and places and I've got like a really bright, bright, fun style. And yeah, just it's kind of a hospitality focus as well. I started out drawing pubs and now it's just all of the city.
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A
It's wild because you have niched down so much. I've been following your work for several years. I remember whenever you released a calendar and you told me how many calendars you sold from the city pubs and we can talk about that amazing number in a minute, but you were just totally niching all the way down and it seems to have worked for you, right?
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B
Yeah, I did think at the start I tried to do a few different things. You know, I sold invites on Etsy and I was like, oh, what's going to sell? But the first thing I drew was a pub and I'm still drawing them 10 years later. And yeah, I think just if you find what you love, you just do it and the audience will come.
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A
Yeah. Now what's interesting though, you know this because you've been around the block, people are terrified to focus too, too inward on one subject. You know, I can see it being a double edged sword at times. So if you're, you know, finding your, your footing, like maybe you already love to make art, but you're trying to be like, how can I stand out in the Internet? You either go all in on like one thing and make it your whole identity, not whole identity. You do a lot of stuff, you do murals and you do product design, but it's your vibe, it's Melbourne. Right. But then there's people who are kind of like the jack of all trades. They can draw and do anything and put it in their portfolio. It's so hard, hard for people to make that adjustment. So like, do you think there's a certain line in the sand when it comes to whether you should niche down into one area or kind of be a little bit more expansive with what you're creating and selling?
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B
Yeah, I just think it's a real personal choice. And I made that choice early on because I was drawing different things and I was doing dogs and whatever anybody asked me for because, you know, early days you got to make the cash. And then I didn't really enjoy drawing those other things. So for me, I was like, I'm just gonna keep drawing pubs. I'm gonna keep drawing them because I know that people will like them and that's what worked for me. But you can do many things or you can just niche down tight and just do it your way.
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A
And that's the very important thing for everyone who's listening. There's not one perfect path for building a creative business. I've been doing this for 16 years, you've been doing it for close to 10, is that right?
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B
Yeah.
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A
You know, things evolve over time, you know, but my business, the way I've built it and grown it, has been based off of the choices I've made that serve me best. And so people sometimes get really focused on they want the clear cut path to success. It's going to look different for each one of us, right?
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B
Definitely, yeah. And there's lots of people who draw pubs in Melbourne. And, you know, there's other people that do it in their different styles and that's cool. Like, oh, drawn the same thing as me, but it's totally different. We have similar customers, but some people buy the same pub from different people as well. So, you know, it's not really competition, it's just community and it's just cool.
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A
I remember early on, for me, so I had this sheep that kept getting ripped off all the time. You know, this sheep made me lots of money, this sheep. But then what people didn't understand is that didn't mean I was protective of all sheep art, just the ones that look like mine. I'd have people, students join, Leverage youe Art, and they'd be like, I hope you don't mind, but I drew a sheep. And I was like, yes, you can absolutely draw a sheep. Because, like, I don't own that animal. I own, like, the copyright to my specific work. But it is kind of challenging, I imagine, since you have like such a presence in Melbourne doing what you do. Maybe for other people who are drawing pugs, do you ever find them kind of being a little sheepish around you? You run into them at craft fairs and they're like, oh, it's Lars draws.
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B
Tell me they can be a little bit. Yeah, yeah. I love seeing people create things in their own style. It's so cool.
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A
Yeah, absolutely. I mean, there's not one path and there's not one style. I mean, you draw beautifully. But someone else could take a completely different approach to drawing the exact same subjects and that's okay. In fact, do you ever. Sometimes I tell beginning artists to find an artist that they really love and just create, like, look at their portfolio and be like, if they have a celestial piece of work of art. What would yours look like if you did your own vibe and kind of go through the categories of things so people can get outside of the decision making fatigue and just be like, okay, what does this artist do that you love? Draw yours. Draw yours. And I don't know, what do you think about that?
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B
Yeah, and I will, I'll look at other artists work, you know, that might have drawn the same thing as me and just be like, I wish mine looked like that. Like, that's way cooler. They might do like a pen fine line, you know, black and white and it's so detailed and so beautiful. Oh, when you see the piece of.
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A
Art you'd made, you're like, oh, you know, I just.
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B
Can I change my style? Is it too late?
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A
Is it? I feel that so deeply. But the one good thing about niching in like you have is that Melbourne may be like a niche, but Melbourne is very large. A lot of buildings. I imagine a lot of 5 million people this smidgen bigger than northwest Arkansas, a lot bigger than northwest Arkansas. But anyone who loves Melbourne will love so many different types of products. So I know you do the custom work. Can you tell everyone a little bit about how you're creating income right now with your multiple income streams?
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B
So the biggest income stream for me at the moment is wholesale. I just came off a trade show as well, finished that on Sunday. So wholesale is about 47% of my income at the moment. So there's products and wholesale, obviously. And then I do markets, and there's about six big markets in Melbourne every year. And I also do a lot of client work, so brand collaborations. So work for local councils, for breweries. I just did a mural for a bookshop. So all different kind of things. I do workshops and I do licensing. So sometimes people take my artwork and put it on a bin wrap on the main street. So. Because it's all local stuff. Yeah. So it just can go anywhere.
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A
So wholesale, are the majority of your stores then in Australia and New Zealand or are you doing a lot selling in the States too?
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B
They're all in Melbourne. That's how niche it is.
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A
Yeah, yeah. Almost a decade ago, the ability for us to reach each other, like, became very difficult. Like, I used to have a lot of retailers actually in Australia, shockingly, and I have none anymore because shipping is just so bananas.
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B
Yeah, and it makes. It really makes it easy, and I just don't have to think about international shipping. So it's quite nice.
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A
Good for you. I am so happy for you. Stay in your little happy place, Australia. It looks so wonderful. Beautiful people who love to support artists. I mean, come on our little island. Yeah, fantastic.
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B
I did get asked, though, that at the trade show. There's an Aussie guy and he said, oh, I want somebody to draw a picture of Austin, Texas, for a puzzle. And I was like, I'm not your girl.
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A
That is so funny. I'd love to ask you a couple of questions. So, you know, you and I really started talking because you had taken this calendar class that I had, and I don't remember the context, but either you emailed me or you commented and you're like, stacy, I've sold a bunch of calendars and you were telling me about it. And I remember I had you in at the Creative Powerhouse Society, my membership, and did an interview with you where you were just talking about the success of the calendars. And I've read that since then, you've been doing it for four or five years, and you have collectors who are coming back every single year to buy that calendar. So can you kind of tell me a little bit the story of the calendar?
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B
Yes, yes, the calendar. They're so funny. I released them in lockdown. So Melbourne was under a pretty hardcore lockdown. We couldn't go to the pub for a long time. So the first one was called let's let's Hope We Can get on the Beers, which was like a. Something that our Premier said about when the pubs opened up. So it's still got the same name. I've tried to change it, but it's just kind of stuck, stuck. So it's called let's get on the Beers, and Every year it's 12 different pub illustrations. And, you know, it was really just like, oh, just put my artwork in a calendar. Didn't think too hard about it. And then I started getting messages and people started coming up to me at markets and saying, oh, we went to six out of the 12 pubs last year. I was like, oh, that's so cool you visited the pubs. Like, I didn't even think of that. And now it's become a real thing and it's called Pub Club. And people go every month, they follow the pubs and people have been doing it for. This will be the end of the fourth year we're coming into, so I'm releasing the fifth year coming up. So Some people will have been to the pub like 48 times with a group of friends. So they meet up, they've got their group, their pub club group, and they put it in the calendar and go, okay, April 22nd. And they mark it all out from the start of the year and they make it a real thing, and it's just beautiful. And people come up and say, oh, we're busy next month, so we've already done the September pub. And they take it very seriously.
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A
The best marketing I've ever heard of. You need to, like, do you talk about this enough? Like, you should be a local paper story about how artists brings people together to support local pubs and create, like, ritual and connection in a broken world. I don't know. There's the headline.
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B
I know. It's so beautiful. And then the pub this month is closed for renovations. I got a panicked message the other day, where should we go? What should we do? I was like, I didn't know this was the service. I was providing.
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A
Encyclopedia. Now that you sell with all the.
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B
I am. Yeah. Yeah, pretty much am. That's amazing. It's so lovely. I love it. Yeah. Next year is going to be the end of the fifth year. So I was talking to one of the OG pub club girls, and we're talking about having a bit of an event to celebrate that.
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A
I love it so much. So how many calendars? Do you mind? Sharon, spill the numbers, because we love real numbers. How many calendars are you selling per year now?
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B
I sell about a thousand a year.
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A
Yeah, That's a good, solid number.
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B
Yeah. When I first did it, I thought, you know, I might sell 100. And in that first release, I sold 800, so that. That kind of went bananas. And from then on, I did so still around a thousand?
- [12:41]
A
Yeah, just a thousand. But, you know, like, for a launch. I think that what's so perfect is you didn't overthink things. You told me, I imagine you went to pubs and that's part of why you liked it, Right. Like, are you a pub gal? We don't have pubs in Arkansas. Different. But you thought about, like, what do I want to create? And you just created it and you didn't overthink it too much. And you already had an audience built in. But I don't even think you were focused so much on selling to them as much as you were just, like, creating what you wanted to create, Right?
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B
Yeah, yeah. That there was not much thought in the. Putting their first calendar together. But now it's very involved and I Make sure I'm in 12 different suburbs. And I love it.
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A
You know, it's kind of your signature product is what I would call it. It's something that people know you for. Of course, you're known for other things, but that too. And I find that a lot of creatives, when they're in product, they want that one signature product, whether it's the wholesale product that people want to put in their stores or. For me, tea towels have become like, my thing. And I never thought that would be it for me. Like, when I was teaching leverage the first time, it wasn't tea towels that I was known for. And now I'm just like a little tea towel princess. Do you ever wonder if, like, what if the calendars ever slowed down, like, what would you do in its place? Not to jinx it. I think they won't.
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B
No, that. That's fine. Well, that's not even my biggest product, really. It's more the Melbourne range. So I've got. There's an illustration of Melbourne and from that I created a jigsaw puzzle. Also stickers and magnets and they. They go bananas. Like, I never thought I'd be in the souvenir game, but here we are.
- [14:24]
A
It is a game. It is wonderful. It is. And there's just so much tourism and people coming in to visit, so everyone wants to give that gift holidays. Since you're like a city niche down lady, is there like a whole group of people who have niche down on their cities that you know, and you have like this little club, like, I own la. I'm going to niche down on la. I'm going to niche down on Chicago. You know, I've got like, Edinburgh, you know, like, is that like a vibe? You should start that club for this.
- [14:52]
B
We should start that, yeah. International. But we're. We're just really into our own city, aren't we? We're like, oh, what, there's other cities, there's others who knew. But, yeah, like, if I am good friends with lots of other people who draw Melbourne and. And some Sydney people, and then people go, oh, have you got a Sydney puzzle? I'm like, nah, someone from Sydney can do that. I might do it eventually.
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A
But you're busy enough.
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B
It's a bit annoying.
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A
So let's talk about all these years. You've had a lot of success, which, you know, is amazing to see. It'll encourage so many people watching. But you've probably also made, like one single mistake in your business. Probably only one, because you're really Cool. So if you could share like a mistake that you've made in your creative business and how you kind of recovered from it, that would be super awesome.
- [15:39]
B
Yeah, I guess mistakes is a tricky one. I think when it's your own business. I don't really see them as mistakes. It's more just like, you just gotta keep going and find a solution. So I guess there's things that I could have done better. Like, I guess early days would be things like I didn't really know how to price things like for wholesale or even client work and just waiting, like, you know, you go into a client meeting and then spend days trying to find people for, oh, how do I price this? Or what should I do here? And wasting all this time. You get back to the client, they're like, oh, we've moved on. So just, just learning from those things, I guess, and, and just, yeah, how to price, how to communicate with clients, all that kind of stuff. I mean, there's been other things. Like I think we got 500 puzzles turned up and there was a print error on them. The picture should have been centered and it was offset. And that was a really bad moment. Like I've only had a handful of times when I've probably cried because really, you know, you just run it your way and it's, it's just fun. That was a big freak out for me because I was like, oh my God, I've got all these orders and I don't know what to do. And, and I basically, after I reached out to the factory and realized, well, it's in China. Like it's the time that it's going to take to reprint these, the waste, all of that stuff for a small error. So I went back to all my wholesale customers and said, hey, this is the problem. What do you reckon? Can you sell them? And they're like, absolutely, we can sell them, not a problem, no one will notice. We don't even notice. And yeah, and so I felt a lot better. And then, yeah, I think it was just kind of working through that and figuring it out.
- [17:18]
A
Well, I want to point out one really important thing that you said because I know a lot of people who would not want to let a retailer know about a mistake like that or they would have already done a lot of paying to reprint and rush it to solve the problem before they like bring it to them. Be like, but I fixed it. You just ask. This is part of it simply. I mean, I'm sure you thought about how you could do it. But then when you went to your retailers, like, what do you think? Is this going to be a problem? And they weren't upset about it. Sometimes we are a lot more nitpicky about these things because, you know, we're obsessed with margin and our, you know, everything correct on our layouts. But a lot of people don't even notice those things. Have you noticed that it's just us.
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B
And I had people, I was showing them, I was shoving the boxes in their face going, look, what's the difference? Spot the difference. They're like, I don't know exactly. No one could really tell.
- [18:08]
A
Is it like our little neuroses of obsession with that actually can create problems that don't exist, you know, or something where, like, maybe the solution isn't as dire as you thought it would be? I used to have the same thing. I had cards that I would purchase and they would come folded, but they'd be slightly off, you know, not perfectly square. And I'd be like, no, no. And I mean, I was throwing out a lot of cards and then I actually did the math and I was like, we're going to see if anyone actually complains. And if they complain, then we'll send them a different one. Because the truth is, you know, let's not make our life harder than it needs to be. I also like how you seem to imply that you don't really view anything as a problem. It's just like something to figure out.
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B
Right. You just got to get on with it, don't you?
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A
Yeah. The people who last in business, this is something I read recently but can't quote it, are the people who just stick around the longest and just keep going. You just keep going because there's always going to be something new on the horizon that could throw you, you know, like one of my manufacturer went out of business or, you know, one of our biggest retailers, you know, had to change buyers and things like that.
- [19:13]
B
It.
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A
It happens, but it's like, well, then I'm just going to keep going and find a different way forward. And I think that's really hard for people to develop. What would you call it?
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B
Endurance problem solving, I guess. Yeah, yeah, yeah.
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A
You feel like you're just a natural problem solver. Laura.
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B
My background is in events as well, so, yeah, I used to solve a lot of real problems.
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A
Then you're probably way cool under pressure too, because if you did events planning, then there's so many things that are out of your control and unpredictable.
- [19:44]
B
Definitely. And also it's, you know, when there's A big client involved or something, you know. Now when I do client work, it's literally a drawing. And here you go. Whereas that was creating an event. And there's lots of things that could go wrong. Like I can fix a drawing. So for me it's. It just feels like it's not so stressful. We're drawing pictures, aren't we? Like, it's. It doesn't have to be hard, doesn't have to be stressful. It's gotta be fun.
- [20:09]
A
Yeah, fun. So I have one more business question and then I have a couple of lighter questions for you just to round it all out. So you do commissions? Quite a bit. I've seen photos of some of your large scale ones. I don't know, you don't have to name the clients. But can you tell me, is it lucrative for you to do murals of that size?
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B
Yes, it is. So all my murals are done digitally? Yeah. So everything I do is on the iPad, but yes, definitely.
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A
And so from your iPad, you're just drawing and you're finding a way to make it really large. Put it on wallpaper and you're just installing it. Like a wallpaper install, right?
- [20:47]
B
Yeah, yeah. So I just draw it in panels and it can be a little bit tricky and then I get someone else to stitch all the panels together and make one big scene. So it's not as easy as if you were doing it on Illustrator. But I don't like using Illustrator.
- [21:00]
A
What I love though is it's an incredibly smart way to approach it because whenever you hear mural, a lot of people are thinking, I can't hand paint something this detailed of my art. And then of course there's. Well, the other solution is to do this. And do clients care that it's not hand painted?
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B
No, not at all. And they can. I mean, they see it before it goes on the wall so they know exactly what it is.
- [21:24]
A
See, I think that sometimes the idea of what has always been is a barrier for people, like just finding another way forward. I know you're not the first person who's done murals this way. I know there's lots of people who do it this way now digitally, thanks to all of our new technology. But I think that people underestimate like a lot of people like murals, especially something that can be temporary, like a wallpaper install.
- [21:48]
B
Yeah.
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A
And you're working with like businesses for these, right?
- [21:51]
B
Yeah, I don't do any private commissions anymore. It's all big businesses now.
- [21:55]
A
Big businesses. What's the biggest business that you've Worked with. You don't have to say the name but like maybe a range, something that.
- [22:01]
B
I don't know, like the coolest one at the moment is like one of Melbourne's original breweries. So I've done a series of cans for them which fits with me perfectly because it's. They wanted a Melbourne range and I draw pubs, so it's all about beer.
- [22:17]
A
I'm very interested in how you balance it because you have different income streams than I do. But you know, I don't do a lot of like corporate work. You know, I do a lot of consumer product wholesale and teaching. So how do you balance it all?
- [22:30]
B
Yeah, it's. At the moment it's a really tricky balance because I've had more client work than anything, which means my product line suffers. So as long as I've got some good products that continue to sell, that's fine. But I can't really build on that when I'm drawing for other people. That's where it gets a little bit tricky. So. Yeah, and just the deadlines, I guess, managing them. But I guess with my background in events, I'm just got a bit of a natural knack for that.
- [22:57]
A
Just you on your team or do you have anyone who helps you?
- [23:00]
B
It's just me. I had an assistant who just left recently. She's just finished uni and she's gone off to get a real job. So it's back to just me. And then I've got an online business manager as well who helps with the online stuff. But yeah, I need more people, definitely. I always need lots of people. So. And then it's just even the printing and packing and getting ready for markets. And now for markets I have a man with a van who will come and pick everything up and take it to the venue and then I have an assistant who will set it up. So then I'll just rock in the next day fresh. Which makes a, you know, three day market. It could be a two day market instead of a four day with a bump in, you know, so.
- [23:39]
A
And with markets you're talking both wholesale markets and markets like that are direct consumer, correct?
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B
Yeah, I think you call them. Are they art fairs or something?
- [23:47]
A
Yeah, like craft shows, art fairs. You're still doing a lot of things like that. So I, I work with a lot of people who they don't like in person events. I mean you did event planning, so probably you, you have a special like love and not afraid of people, which is good. But for a lot of people the idea of planning Their calendar year for their art business around in person events is really daunting. But I find it to be one of the best ways to test out new product to get to know clients, to get leads. So what would you say to the person who has opportunity to do in person markets, whether it's wholesale or direct, customer in person and is afraid and timid? Because I keep saying that, you know, the Tiktoks or the Instagrams that always go viral about like, I make no money in my booth. Like, those are the ones. The attention, not the people who are like, another nice steady show. What do you say to that?
- [24:43]
B
Yeah, yeah. I mean, I think you've got to find the right show for you as well and just start small. Like go to a little nice market somewhere. You know, the ones I do are pretty big and intimidating. They cost a lot of money and it's two grand to just turn up without anything. And yeah, but you can do a little local market for 50 bucks. Meet your customers. It's, you know, they might say some things that make you feel like, I'm like 60 bucks for a puzzle. Oh, but it's feedback, you know, and. And you can say what you want back to them. People give me stuff like, oh, if you did a puzzle of this area, I'd buy. And I'm like, well, you and no one else, like, in a nice way. But you can joke around with them and it's just the feedback you get is amazing. I also have picked up wholesale business from craft fairs and mural opportunities. Like lots of different opportunities. This. It's not just people who want art on their wall that are there. It's everyone's there. Businesses are there. So it's great.
- [25:41]
A
Your business cards. So you must have marketing assets for in person. You got your business cards, email, sign up. I'm not sure how you're doing it. Give me the little scoop.
- [25:51]
B
I don't do it very well, Stacy. But yes, you should have those things. But yes, definitely business cards. I have a big sign behind me that says laws, drawers. And I always encourage people to take a photo so that they remember my setup and what my work looks like. Because if they're just taking a business card, they might never look it up. Just encouraging people to follow Instagram. I release new things all the time, so you'll be the first to know if you're on Instagram or sign up to my newsletter. You can, you know, there's a QR code if you want to do that. Some people do a 10 off if you join the newsletter at the day, and there's all different ways you can do it. Yeah.
- [26:25]
A
Yeah. All right, last question I have for you is the best advice you could go back and give yourself at the very beginning of your art business venture.
- [26:35]
B
I think at the start, I reckon it's just create what you want to create. So I did that in a roundabout way. I started drawing pubs, but I couldn't see how they were gonna make me money. So I went off and did other things for other people, and then I did a full circle and came back to that. But just stay true to yourself, and you're not going to enjoy it if you're drawing something you don't want to draw. Yeah, Yeah.
- [26:59]
A
I love it.
- [27:00]
B
I just. I love what I do like. It's so cool. And I wouldn't find it exciting to draw a puzzle of Austin, Texas. I only want to draw the places that mean things to me and my.
- [27:11]
A
Audience, and that matters, and it shows through. So create the things that you like to create and love what you're creating. And if you ever get to where you don't love what you're doing, maybe stop and ask yourself, well, at what point did I stop loving it? And maybe you can then kind of get back into the fold a little bit back where you'd like to be and keep going and grow. So.
- [27:34]
B
And you don't have to stick with something. You can try it for a while and change.
- [27:38]
A
I definitely get bored with things and like to change, and I've been fine. My business has not suffered for it because that's how I work best. So always figure out, coming back to the beginning of this conversation, there's a lot of different paths, a lot of different ways forward, but I think knowing yourself and what you love is going to be the best kind of starting point, no matter where you go after that. And, you know, don't just follow my recipe or Laura's recipe or anyone else's. Like, take what we're doing. See what applies to you. Apply it to your, like, specific situation, and then go have some fun with it and grow it. But do bring your business cards to your craft shows, please. That's how I'll end this one. Where can everyone find you online?
- [28:24]
B
It's lawsdraws.com and lawsdraws. On Instagram, it's L, A W, Z, D R A W, Z because somebody had taken the S's.
- [28:32]
A
Don't you hate it when that happens? I do. Thank you so much for being here with me. I appreciate it. And Good luck for the release of your fifth calendar. I can't wait to see what a big success it is.
- [28:43]
B
I'll send you one.
- [28:44]
A
I would love it. I'll become a big Melbourne girly. It'll happen. I love it.
- [28:49]
B
All right, great to chat. See ya.
- [28:52]
A
Bye.
- [28:53]
B
Bye.
- [28:54]
A
Thanks so much for tuning in. Hey, could you do me a favor? Could you subscribe to this podcast and then share it with one of your best art friends? I'd really appreciate it. And then head on over to Instagram and follow me at the Leverage your art account and you can keep up with all of our future episodes. Thank you so much for your support. It means everything to have you here listening and learning.
- [29:16]
B
Bye. This episode is brought to you by Progressive Insurance. You chose to hit play on this podcast today. Smart Choice make another smart choice with Auto Quote Explorer to compare rates from multiple car insurance companies all at once. Try it@progressive.com Progressive Casualty Insurance Company and affiliates not available in all states or situations. Prices vary based on how you buy.