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Artist Back Alley Resources Blog

Why Vendors Regret Buying Cheap Displays Twice

There is a very specific kind of regret that happens at your third show of the season, standing over a bent grid cube, realizing you are about to buy the exact same cheap display you bought last year. Twice. That regret is completely avoidable, and a lot of vendors learn it the hard way.The first purchase is a guess, the second one is a patternBuying cheap the first time is understandable. You are new, you do not know your show schedule yet, and you do not want to overcommit. Fair. But buying the same cheap thing again after it already failed you once is where the regret sets in, because now you know exactly what is going to happen and you did it anyway.This is usually not a lack of awareness. It is a budgeting habit. Vendors keep treating the display as a one time purchase instead of a recurring cost, so every time it breaks, it feels like a fresh emergency instead of a predictable outcome.Why the second cheap purchase hurts moreThe first time, you can tell yourself you did not know better. The second time, you knew exactly how this ends and bought it anyway because the upfront number was smaller. That is the moment most vendors finally sit down and do the actual math on cost per show, and realize the cheap option was never actually cheap.Breaking the cycleThe fix is simple but requires an upfront decision. Instead of buying something disposable twice, buy something built to reconfigure into different layouts and hold up across years of shows once. A kit that sets up in under 30 minutes with no tools and packs flat for travel removes the recurring replacement cost entirely, instead of just delaying it to next season.It also removes the emotional cost. No more digging through a bent grid at 6am wondering if it will survive one more weekend. No more last minute hardware store runs before doors open. That peace of mind is worth something too, even if it is harder to put on a spreadsheet.Buy once, actually mean itIf you have already bought a cheap display twice and are staring down a third purchase, this is the moment to break the cycle. Look at our modular display kit, or compare the full kit lineup to find a setup built to actually last through your show calendar.How do I know if I am stuck in the cheap replacement cycle?If you have bought the same type of display more than once because the last one broke or wore out, you are in it. The pattern is the tell, not any single purchase.Is it too late to switch mid season?No. Every show you delay switching is another show spent on a setup you already know will fail again. Breaking the cycle sooner just means fewer repeat purchases before you do.What should I look for to avoid buying cheap twice?Look for panels engineered to reconfigure and hold their shape over years of use, a setup that goes up in minutes without tools, and a brand that actually designs its own kits rather than reselling generic parts.

Night Market Displays: What Changes After Dark

Night markets look magical from the outside and are a genuine headache to set up for if nobody warns you first. Lighting, visibility, and how your work actually reads under string lights or a single overhead bulb, none of that is the same game as a daytime show.Your art needs to compete with bad lighting, not good lightingDaytime shows give you natural light for free. Night markets give you whatever the venue decided to string up, and it's usually warm, dim, and uneven. Prints that look vibrant at noon can look muddy under orange string lights. Test your actual pieces under warm, low light before the show, not just in your studio with daylight bulbs. Some artists keep a small clip light or two aimed at their top shelf specifically because ambient market lighting alone isn't enough.Visibility from a distance matters more at nightNight markets are often more spread out, sometimes across a park or a closed street, and people are navigating by whatever's lit up and eye-catching from twenty feet away in the dark. A tall, structured booth silhouette reads as a destination in a way a flat table just doesn't. Building up to full height, 175cm on a standard 6ft table, gives you a shape people can spot and walk toward even in low light, instead of blending into a row of dark tables.Cords, lights, and gear need somewhere that isn't the table surfaceIf you're running your own lighting, that's extra gear competing for table space with your actual product. A shelf structure gives you a place to tuck a small light or a phone charger out of the way without it eating into your display area or becoming a tripping hazard for shoppers browsing in the dark.Pack-up in the dark needs to be simpleBreaking down a booth after 9pm with a flashlight in one hand is not the time for a complicated system. No-tool assembly that you can basically do by feel matters a lot more once the sun's down and you're tired. Packing flat and light also makes the walk back to your car in a dark lot a lot less painful.Do I need special lighting for a night market booth?Not required, but a small clip light on your top shelf helps your best pieces actually read true to color under warm ambient lighting.How do I make my booth visible from far away at a night market?Height and a distinct silhouette do more work than color alone in low light. A tall, structured setup is easier to spot from across a dark venue.Is breakdown harder at night markets?It can be if your setup is fussy. Tool-free assembly that you can manage quickly in low light makes a real difference at 10pm.Setting up for your first night market? Check out our modular display kit or see the full kit lineup to find a build that stands tall after dark.

Why Mismatched Displays Undercut Even Great Art

Great art doesn't sell itself as automatically as people assume. Presentation still matters, and a mismatched display can quietly undercut even the strongest work on the table. It's an uncomfortable truth, but it's the one that actually moves sales numbers.Mismatched signals compete with your art for attentionWhen your table has three different surface colours, a random collection of risers, and signage that doesn't match anything else, a browser's brain has to work harder just to parse the scene. That effort competes directly with the attention your art needs to land. Even a genuinely great piece can get lost in visual noise it didn't create.Inconsistency reads as inexperience, fairly or notPeople don't consciously think "this display is mismatched, therefore the art must be bad." But there's a quieter version of that judgment happening anyway. A messy table makes people assume messy business, missed deadlines, sloppy shipping, no follow-through. It's not fair to your art, but it's how first impressions work, and it happens before anyone's even looked closely at a single piece.Fixing this doesn't require redoing your art, just your frameThe good news is this is one of the easiest problems to fix, because it has nothing to do with your actual skill as an artist. It's a display problem, solvable with a consistent system. Our modular display kit replaces the mismatched shelves-and-easels approach with one set of matching frosted panels, available in 19+ exclusive colours, so the whole wall reads as one considered piece instead of five unrelated decisions. Browse all 19+ colours to find your match.Lighting is part of the mismatch problem tooIt's not just colour. Harsh glare off glossy plastic panels or uneven lighting across a mismatched setup can make even well-lit art look flat in different spots on the same table. The 35x35cm frosted polypropylene panels diffuse light evenly across the whole wall, so your art glows consistently from one end of the table to the other, not just under the one good lamp you brought.Can a mismatched display really hurt sales of genuinely strong art?Yes, because most buying decisions start with a snap judgment about the whole table, not a piece-by-piece evaluation. A messy first impression means fewer people even get close enough to see the strong art.What's the quickest fix if I can't overhaul my whole booth right now?Unify your backdrop first. A single consistent panel colour behind your art does more visual work than fixing every small prop on the table.Does this apply to small tables too, or just big convention booths?It applies at any size. A small table with a mismatched setup loses just as much attention as a large one, sometimes more, since there's less room to distract from it.Your art earned its place on that table. Don't let a mismatched display talk it down before anyone's even had a chance to look properly.

The Booth Glow-Up: Before And After A Display Upgrade

Every artist has a "before" photo they're a little embarrassed by. A flat table, a leaning grid, prints stacked wherever there was room. Then there's the "after" photo, the one that actually gets reposted. Let's talk about what changes between those two photos, because it's rarely the ART. It's the DISPLAY. Before: everything fights for the same space In the before photo, every piece sits at roughly the same height on a flat table. Nothing has room to breathe, and your best print is competing with your worst for the same eyeline. It's not that the setup looks bad exactly, it just looks like nothing in particular. There's no hierarchy telling a customer where to look first. After: height does the selling for you The glow-up almost always comes down to vertical structure. A modular panel system lets you build UP, not just out, so your hero pieces get their own tier instead of drowning in a flat spread. Shapeshift kits scale from 46 panels up to 92, so you can go from a modest first booth to a full multi-tier display as your inventory grows, without starting over with new furniture every time. Before: the wobble everyone's seen before The before setup usually has some version of the sagging table problem. A grid that bows, a corner that's not quite level, prints stacked high enough to worry about. It's the kind of thing that photographs fine from far away and looks rough up close. After: it actually holds up all day Panels built correctly hold up to 5kg per shelf, so the after photo isn't just prettier, it's structurally sound for a full con day. No slow collapse by hour six. And because it sets up in under 30 minutes with no tools, the upgrade doesn't cost you time either, which is honestly the most surprising part of a glow-up like this. What usually makes the biggest visual difference in a glow-up? Height. Adding vertical tiers does more for how a booth photographs than almost any other single change. Do I need to replace my whole setup to see a real glow-up? Not always. Swapping a flat table display for a modular panel system is usually the one change that fixes the most problems at once. Will a bigger display actually fit my table? Kits are built to fit a standard 180cm (6ft) table, so sizing up in panels doesn't mean sizing up your table footprint. Ready for your own glow-up photo? Start with a proper modular display kit and see the full kit lineup to pick the size that matches where your booth is headed.

How Spares Turn A Disaster Into A Non-Issue

Picture it. Ten minutes before doors open, you go to lock in the last panel and the connector just snaps in your hand. No hardware store nearby, no time, and a line already forming outside. This is the moment that separates a ruined show from a mild inconvenience, and the only difference is whether you packed a spare.The disaster versionWithout a spare, this turns into a scramble. You're texting the vendor next to you, checking if the con has a tool table, maybe jury-rigging the panel with tape so it holds for the day. Your booth photo for the day looks a little off. You're stressed before your first customer even walks up. All of that from one small broken part.The non-issue versionWith a spare packed, this is a thirty second fix. You reach into your bag, swap the connector, and you're back to setting up like nothing happened. Same broken part, completely different morning. The difference is not luck. It is planning.Why we build spares into every kitWe sell complete kits, never loose parts, so panel counts and connector counts always stay matched WITH spares included from the start. You're not adding a spares kit as an upsell. It's already in the box because we know what a full show season does to hardware.This matters more the longer you're in this. A vendor doing one show a year can maybe get away without spares. A vendor doing twenty shows a year across a full convention journey will hit a broken part eventually. It's not a matter of if.Spares that actually match your setupBecause every panel and connector is cross-compatible across our kits, your spares work no matter how your booth has grown. If you started with a Shapeshift Base kit and added on since, the spares from your original kit still fit the expanded setup. Nothing becomes obsolete.A quick pre-show ritual worth adoptingBefore every load in, do a thirty second check of your spares pouch. Replace anything you used at the last show. It costs nothing and it is the single easiest way to make sure a snapped connector stays a non-issue instead of becoming your whole morning. See how the kits compare if you're building your first spares habit.FAQHow many spare panels and connectors come with a kit?Every kit ships with spares included as part of the complete set, sized to the kit itself, so you're covered without buying anything extra.What should I do if I use up my spares during a show run?Restock before your next show. Treat spares like any other consumable in your booth kit, check and replace after every use.Do spares expire or wear out sitting in the bag?No, panels and connectors don't degrade from storage. Keep them in a dedicated pouch so they're easy to find under pressure.

What To Do When Your Booth Weighs More Than Your Suitcase

If you've ever put your display case on the airport scale and watched the agent's eyebrows go up, you already know the feeling. Your BOOTH weighs more than everything you're wearing for the weekend combined. That's a sign, not a quirk. Let's fix it. Step one: actually weigh it Most vendors have never weighed their display separately from everything else. Do it. Put just the frame, panels and hardware on a scale. If that number surprises you, it's costing you money you haven't accounted for, in fees, in strain, in time. Identify what's actually heavy It's usually not the fabric or the signage. It's the structural stuff: wood frames, metal grid panels, thick MDF backing boards. These materials are cheap and sturdy, but they're dead weight when you're the one carrying them through an airport or up three flights of stairs at a convention center with no elevator. Switch the frame, not the whole booth You don't need to reinvent your entire setup, just swap the heavy structural core. Our modular kits use frosted polypropylene panels, ABS connectors and PLA hooks specifically because these materials hold up under repeated setup while weighing a fraction of wood or metal. The panels pack flat, so what used to be an oversized, overweight case becomes something that can fit standard checked luggage, or on smaller kits, the 56x36x23cm carry-on allowance. Take a look at our modular display kit and weigh it against what you're currently hauling. The difference is usually bigger than people expect. Right-size before you buy Don't just grab the biggest kit because it sounds impressive. Core (24 panels) and Shapeshift Base (46 panels) suit smaller tables and lighter travel. The Shapeshift kit (70 panels) is the most popular, a genuine all-rounder for a standard table. Shapeshift Max (92 panels) is for vendors who need serious wall space and don't mind checking a bigger bag. Match the kit to your actual table, not your biggest dream booth. Compare them all on the full kit lineup. How much lighter is a modular kit than a traditional display? It varies by comparison, but lightweight materials like polypropylene and ABS are meaningfully lighter than wood or metal grid systems of a similar size, often enough to change a checked bag into a carry-on. Is a lighter display less sturdy at the show? No. Lightweight doesn't mean weak. These materials are chosen for durability under repeated setup and teardown, not just for shipping weight. What's the first thing to check if my display feels too heavy? Weigh it separately from your inventory. If the frame and panels alone are a significant chunk of your total baggage weight, that's your sign to switch materials.

Budgeting For Your First Real Display Without Overspending

Your first real display purchase is stressful. You do not want to overspend on something you are not sure you will stick with, but you also do not want to buy cheap and end up replacing it three months in. Here is how to actually think about the number.Start with your show schedule, not your budgetMost vendors start budgeting backwards. They pick a number they are comfortable spending, then look for a display that fits it. Flip it around. Start with how many shows you realistically plan to do this year and next. That number tells you how much weight your display needs to carry, which tells you what actually makes sense to spend.If you are doing one or two shows to test the waters, you do not need the biggest kit available. If you are already committed to a real convention journey with a dozen or more shows a year, a display that only survives a few events is going to cost you more in replacements than a proper setup would have cost upfront.Size to your table, not your ambitionA common overspend mistake is buying more panels than your actual table size needs. A smaller kit built around fewer panels covers most single table setups just fine, while bigger kits make sense once you are running a double booth or building out a bigger presence. Buy for the table you have now, not the booth you dream about in two years. You can usually add on later.What not to cut corners onWhere you should NOT try to save money is on the actual structure. A wobbly frame or bent grid costs you in repairs, stress, and replacement purchases within a season. Where you CAN save is on extras like signage, lighting, or decorative add-ons, which you can build out slowly as your budget allows.Think in cost per show, not cost todayA reconfigurable kit that sets up in under 30 minutes with no tools and holds up across years of shows spreads its cost across 20+ events easily. Run that math against a bundle of cheap folding tables and grid cubes that need replacing every season, and the real budget answer becomes obvious fast.Ready to figure out the right starting size for your table. Browse our modular display kit, or compare the full kit lineup to see which size actually matches your first booth.What is the smallest kit that still looks professional?Our Core kit, built around 24 panels, covers most single table setups and gives you a clean, professional look without overbuying for a booth size you do not have yet.Should I buy the biggest kit just in case I grow?Not necessarily. Buy for your current table size. Growing into a bigger space later is a normal part of the vendor journey, and you can scale up when it actually happens rather than paying for space you are not using yet.How do I avoid overspending on my first display?Match the kit size to your actual table, skip extras you do not need on day one, and prioritize a structure that will not need replacing after a handful of shows. That is where the real savings live.

Holiday Market Booths: Handling The Busiest Weekend Of The Year

Holiday markets are chaos in the best possible way. Everyone's shopping for gifts, everyone's in a hurry, and the crowd density can be double what you see at a normal weekend market. Your booth needs to handle volume, not just look nice.Gift shoppers move faster and buy more, so restock access mattersHoliday market buyers aren't browsing for fun, they're checking names off a list. That means faster decisions and higher volume per person compared to a regular market. You will sell out of your popular items mid-day if you're not careful, so your setup needs easy access to backstock, not everything crammed onto the visible shelf with nothing in reserve. Build your display so restocking a shelf takes seconds, not a full table teardown.Gift-ready presentation beats everything elsePeople are buying FOR someone else, which changes what sells. Small, clearly priced, easy to grab items move fast during holiday season, more than big statement pieces that need a longer sales conversation. Group your gift-under-$30 items together and make them obvious. A clean shelf grid does this automatically, way better than a table covered edge to edge.Cold weather markets need a display that isn't fighting you tooA lot of holiday markets run outdoors or in unheated venues. Cold hands, bulky gloves, everyone in a hurry. You don't want to be wrestling with a stiff, finicky setup on top of that. No-tool assembly matters here more than usual, you're often setting up in the cold before doors open and you want it done fast so you can warm your hands back up. Setup lands under 30 minutes even in a rushed, cold morning load-in.Weekend-long shows need a structure that survives the crowdHoliday markets often run multiple back to back days over a single weekend, sometimes with thousands of shoppers moving through. Bags swing, kids grab, the crush is real. The 35x35cm frosted panels hold up to 5kg per shelf so your product actually stays put through a weekend of high traffic instead of getting knocked to the floor.How do I avoid selling out too early at a holiday market?Keep backstock accessible behind or below your main shelves and restock in small batches through the day instead of loading everything out at once.What price point sells best at holiday markets?Small gift-ready items in an obvious, grouped display tend to outsell single big-ticket pieces, since most shoppers are buying for other people on a list.Is a bigger booth worth it for holiday market volume?If you're running a full catalog for gift season, the Shapeshift Max (92 panels) gives you enough shelving to handle the volume without constant restocking runs.Getting ready for the holiday rush? Check out our modular display kit or see the full kit lineup before the season gets busy.

The Minimalist Booth That Still Sells Out

More stuff on a table does not mean more sales. That's the lie a lot of new vendors believe, and it's why so many tables look like a garage sale instead of a storefront. The vendors who consistently sell out aren't the ones with the most product visible. They're the ones who edited hard and let the good stuff breathe.Clutter reads as cheap, even when your work isn'tWire grids stuffed edge to edge with prints look cheap. They just do. It doesn't matter how good the individual piece is if it's buried in a wall of forty other prints competing for the same three seconds of attention. A minimalist setup does the opposite. It gives each piece room to actually be seen.Fewer pieces, better lighting, cleaner linesA minimalist booth isn't about having less inventory. It's about displaying less at once and rotating your backstock in as things sell. Pick your strongest ten to fifteen pieces for the panel wall itself, keep the rest in bins under the table, and swap stock through the weekend as gaps open up. Your display always looks fresh and never looks picked over.One or two colours, not a rainbowMinimalist doesn't mean boring, it means disciplined. Choose one or two panel colours from the 19+ available and stay consistent across your whole build. A tight colour story photographs better for con recap posts too, which matters more than people think for return traffic next year.Structure over volumeThis is the actual secret. A clean vertical panel grid, evenly spaced, holding a curated set of pieces, reads more professional and more expensive than a cluttered table twice its size. People trust a booth that looks intentional. Intentional sells. Panels are frosted polypropylene, 35x35cm, holding up to 5kg per shelf, more than enough for a tight, well spaced minimalist layout.Minimalist also means faster and easier for youLess clutter means less to set up, less to pack down, and less to manage during a long con day. Setup takes under 30 minutes with no tools, and the whole kit packs flat into a 56x36x23cm carry-on. That's less physical and mental overhead for you across a three-day weekend, which honestly shows up in your energy at the table too.Won't fewer pieces on display mean fewer sales?Usually the opposite happens. A curated display with breathing room gets more attention per piece, and rotating stock keeps things fresh without overwhelming buyers.How do I choose what makes the cut for a minimalist layout?Go with your proven best sellers and your newest release. Everything else can rotate in from backstock as space opens up.Does a minimalist booth still need a strong sign?Yes, a clear sign with your name and prices matters even more in a minimalist setup since there's less visual noise competing for attention.Less clutter, more sales, real simple. Check out our modular display kit or browse the full kit lineup and build the clean, curated setup your work deserves.

What Booth Branding Actually Means For A Solo Artist

"Branding" sounds like something big companies do with focus groups and consultants. As a solo artist packing your own car and running your own table, it means something much simpler: does your booth look like it belongs to ONE person with a clear point of view, or does it look like whatever happened to be lying around.Branding for you is really just consistencyYou don't need a mission statement or a brand guideline PDF. You need the same colours, the same display, and the same overall feel showing up every single time you set up. That's it. That repetition, more than any logo, is what actually reads as a brand to a stranger walking past your table.Your booth is doing marketing work whether you plan it or notEvery table at a con is communicating something, on purpose or by accident. Yours is either saying "I know exactly what I'm doing" or it's saying nothing coherent at all. Since you're already putting in the work to show up, the colour and layout decisions cost you almost nothing extra and do real work for you. Your booth is basically your BRAND, running silently in the background while you talk to customers.A repeatable system beats reinventing it every showSolo artists don't have a team building a new booth concept every con. You need something you can set up alone, fast, and get right every time. That's exactly what a modular system is for. Our modular display kit sets up in under 30 minutes with no tools and packs flat afterward, so your branding decision gets made once and just repeats, instead of becoming a new project every single event.Pick colours that are actually yoursWith 19+ exclusive frosted colours available, you can find a palette that's specifically yours, not a generic neutral shared by half the artists in the room. Browse all 19+ colours and treat the choice like picking a logo colour, because that's basically what it is.Do I really need to think about "branding" if I'm just a hobbyist selling on weekends?Even casually, yes. A consistent look helps returning customers find you again, which matters at any scale, hobby or full business.Isn't branding expensive for a solo artist?Not really, most of it is decision-making, not spending. Picking consistent colours and repeating them costs nothing beyond the display itself.How do I know if my current booth already reads as a brand?Ask a friend to describe it from memory a week later. If they remember colours and a feeling, it's working. If they remember nothing specific, it isn't yet.Branding for a solo artist isn't a marketing exercise. It's just showing up looking like yourself, consistently, until people recognise you for it.

Common First-Timer Mistakes That Are Easy To Avoid

Your first con is a LOT. New badge, new crowd, new everything, and somehow you're also supposed to build a booth that sells. No wonder first-timers make the same handful of mistakes over and over. The good news is every one of these is avoidable once you know to watch for it. Showing up with no real display system A tablecloth and a stack of prints is not a booth, it's a garage sale. First-timers often skip a real display system to save money, then spend the whole show wishing they had one. A proper kit fits a standard 180cm table and sets up in under 30 minutes with no tools, so it's not the time sink new vendors expect it to be. Underestimating how much stuff you're actually bringing Inventory, bags, a cash box, business cards, snacks, a jacket for when the venue gets cold. It all needs somewhere to live, and a table alone runs out of room fast. This is where kit SIZE matters. Core with 24 panels suits a smaller first table, while Shapeshift at 70 panels is the most popular pick because it comfortably handles a fuller inventory without crowding. Running out of setup time Doors open at a set time whether you're ready or not. First-timers often lose their whole setup window fighting with tent poles, zip ties, or a grid system that doesn't quite fit together right. A kit that goes up in under 30 minutes with no tools means you're actually ready to greet your first customer instead of still assembling shelving while they're standing there. Not thinking about lighting until it's too late Convention hall lighting is rarely flattering. It's often harsh and direct, which can wash out colors and flatten artwork that looks amazing on your monitor at home. Frosted panels diffuse that light so your art reads true instead of glaring under fluorescents. It's a detail most first-timers don't think about until they see their own booth photos later and wonder why everything looks dull. What's the single biggest first-timer mistake? Skipping a real display system to save money upfront. It usually costs more in lost sales than it saves in dollars. How do I pick the right kit size for my first show? Match it to your inventory, not your budget alone. Core (24 panels) suits a lighter first table, Shapeshift (70 panels) is the most popular all-rounder, and Shapeshift Max (92 panels) suits vendors bringing a LOT of stock. Is setup really doable solo before doors open? Yes. A modular kit needs no tools and typically goes up in under 30 minutes, even solo. If this is your first con, start with a proper modular display kit instead of piecing one together from scratch. Browse the full kit lineup to find the right size for your first show.

Why You Should Buy For The Booth You'll Have In Two Years

Buying for right now feels responsible. It isn't, not really. If you're doing this seriously, the booth you need in two years is bigger than the one you need today, and buying small on purpose just means buying again later.The two year testHere's a simple gut check before you buy any display gear. Ask yourself where you actually want your booth to be in two years. Bigger table, corner spot, double booth at a major con. If the answer is anything other than exactly what I have now, then buying a display that cannot grow is buying the wrong thing, even if it's cheaper today.Cheap now usually means expensive twiceA basic non-expandable setup looks like the safe choice when you're new and cash is tight. But when your product line grows, or you land a bigger show, that setup gets replaced, not upgraded. You pay for it once, then pay for a whole new booth again a year later. That is not saving money, that is buying twice for one booth.Buy modular, add later, never replaceThe alternative is buying into a system where every panel and connector is cross-compatible across kit sizes. You buy a smaller kit today because that's what fits your current table, and you add to it later exactly when you need more, not before, not from scratch.Our range goes from Core at 24 panels for a half table, up to Shapeshift Base at 46 panels, Shapeshift at 70 panels for a full table with tall framing, and Shapeshift Max at 92 panels for double tables and corner booths. Buy the size that fits your table today, knowing the system scales with you. If you're unsure, start with a Shapeshift Base kit and let it grow from there.What "two years out" actually looks likeThink in tables, not panels. A single kit fits a standard 180cm (6ft) table today. Two kits combine into a 360cm (12ft) double setup for the corner booth you might be working toward. You do not need to buy the double setup now. You just need the pieces you buy today to still make sense when you get there.Set it up once, keep setting it up the same wayEvery size in our range sets up in under 30 minutes with no tools, so scaling up doesn't mean relearning your load in routine. That consistency matters MORE as your shows get bigger and your setup windows get tighter. See how the kits compare to plan your next two years properly.FAQIsn't it cheaper to just buy small and upgrade later?Only if what you buy small can actually be added to. A non-modular setup gets replaced entirely, which usually costs more over two years than buying into an expandable system from the start.How do I estimate the booth size I'll need in two years?Look at your show schedule ambitions and your product line growth. If you're aiming for bigger conventions or corner spots, plan around a kit that combines toward a double setup.What if my plans change and I don't grow into a bigger booth?That's fine. A smaller kit works perfectly as a standalone setup indefinitely, the growth path is there if you need it, not a requirement.

The Flat-Pack Advantage Nobody Explains Properly

Everyone says "flat-pack" like it's a magic word that fixes all your travel problems. Nobody actually explains WHY it matters, so let's do that properly, because there's a real mechanical reason it changes everything about how you travel to shows. Folding is not the same as flat A folding display still has hinges, brackets, joints that don't fully collapse. Fold a metal frame and you still end up with something roughly a third of its assembled size, awkward, angular, hard to stack with anything else. True flat-pack means the pieces come completely APART. No hinges holding a folded shape. Just individual flat panels and small connectors that stack like a deck of cards. Flat things stack. Folded things don't. This is the part nobody explains. Flat panels stack directly on top of each other with almost zero wasted space between them. Folded frames leave gaps, angles, dead air in your suitcase or trunk. That wasted space is the difference between your display fitting in a carry-on and needing its own oversized case. Our panels are 35x35cm frosted polypropylene, and they genuinely stack flat, no folding mechanism involved. Combined with ABS connectors and PLA hooks that pack down small, the whole kit collapses into something that fits the standard 56x36x23cm carry-on allowance on smaller builds. Flat-pack means faster rebuild too Here's the bonus nobody mentions: flat pieces that separate completely are also FASTER to reassemble, because there's no fighting a stuck hinge or a bent bracket from the last show. You lay out your panels, click connectors in, hang your hooks. Under 30 minutes, no tools, every time, because nothing got bent out of shape in transit like a folding frame can. See how the pieces come apart on our modular display kit page. It scales without changing the system The other advantage: flat-pack pieces are modular by nature. Core (24 panels), Shapeshift Base (46 panels), Shapeshift (70 panels, the most popular all-rounder), Shapeshift Max (92 panels), it's all the same flat panel system, just more or fewer pieces. You're not learning a new fold pattern for a bigger booth. Check the full kit lineup to see how the sizes stack up against each other. Is flat-pack actually more durable than folding frames? Often, yes. Folding frames rely on hinges that wear out and bend over repeated use. Flat panels with separate connectors have fewer moving parts to fail. Does flat-pack take longer to set up than a folding frame? No, usually faster. There's no fighting a bent hinge or stuck fold. You're just clicking flat panels into connectors, under 30 minutes with no tools. Why don't more displays use true flat-pack construction? It requires designing the whole system around disassembly from the start, which is more work upfront than just adding a hinge to an existing frame. It's worth it for anyone who travels though.

The Hidden Cost Of Replacing A Wire Grid Every Year

A wire grid cube looks harmless sitting in the corner of a craft store. Cheap, light, easy to grab on the way out. Then you get it home, use it for a season, and by the next show it is bent, sagging, or missing a zip tie holding the whole thing together. Sound familiar.The annual replacement cycle nobody budgets forWire grids are not built for repeated load in and load out. They bend under panel weight, they warp in transit, and once one panel goes, the whole wall looks uneven. So you replace it. Then next season, you replace it again. This becomes a quiet annual line item that never gets its own spot in your budget, it just gets absorbed as stuff I had to buy before the show.Add up a few years of this and you have spent more on grid replacements than you would have spent once on a display built to actually last. That is the trap. Cheap feels like saving money because each individual purchase is small. The pattern is what costs you.What replacing a grid actually costs youIt is never just the grid. It is the zip ties, the extra prints you need to re-cut to fit a slightly different bent shape, the time spent fixing it in a hotel room the night before doors open, and the stress of hoping it holds through a whole weekend of customers leaning on your table. None of that shows up on the receipt, but all of it is real cost.What replaces the grid cycle for goodA modular panel system built to reconfigure into different layouts skips this problem entirely. Instead of bent wire and sagging fabric, you get panels engineered to hold their shape across years of shows, set up in under 30 minutes with no tools, and pack flat so they travel light without adding to your baggage bill.Every show you skip a grid replacement, that is money back in your pocket, and every show your panels go up in minutes instead of fighting with warped wire, that is stress off your plate. Multiply that across a full convention journey and the difference is EVERYTHING.Do the math on your own grid habitThink back over the last two years. How many grid cubes have you bought or replaced. Add up what that actually cost, including the tape, the zip ties, and the panicked last minute purchases. Compare that total to a single kit that spreads its cost across 20+ shows instead of one bent season. The comparison usually settles the debate fast.If you are tired of buying the same wire grid twice a year, take a look at our modular display kit, or compare the full kit lineup to find the size that replaces your current setup for good.Why do wire grids bend so easily?They are designed for light home storage use, not repeated transport and the weight of hung prints or panels. Constant flexing under load is exactly what they were never built for.How long should a real display setup actually last?A well built modular kit is designed to hold up across years of regular show use, not a single season. That is the entire point of paying for engineering instead of a bargain bin cube.Is switching mid season worth the disruption?Usually yes. Every additional show on a failing grid setup is another repair cost and another stressful load in. A fast, tool free setup pays that disruption back within a show or two.

Loud Colours, Bright Light: The Science Of Getting Noticed

There's an actual reason some booths pull a crowd and others sit quiet all day, and it's not magic, it's how human vision works in a busy room. Once you understand the mechanics, you can stop guessing and start building a booth that's engineered to get noticed.Peripheral vision is drawn to contrast and colour firstWhen someone's walking through a packed hall, they're not consciously reading every table. Most of what registers happens in peripheral vision, and peripheral vision is tuned to pick up contrast and bold colour way faster than fine detail. That's why a strong colour block gets noticed before anyone can even tell what's actually on your table. It's not about being flashy for the sake of it, it's about working with how eyes physically scan a room.Why muted tones get skipped overBeige, grey, muted pastels, they're all calm, tasteful, and completely invisible in a room full of other tables doing the exact same thing. Calm works great in a boutique with three customers browsing slowly. It does not work in a convention hall where 200 tables are all fighting for the same glance. This is HUGE for new vendors especially, because it's tempting to play it safe with neutral colours, when neutral is exactly what gets your booth lost in the crowd.Light matters as much as colourA booth that's dim or shadowed loses its colour advantage fast, colour reads flat under bad light. Clip lighting aimed at your top shelf, where your strongest piece should sit at eye level, keeps your colours reading true even in a dim convention hall. Pair that with a matte panel surface instead of glossy or metal, glossy surfaces glare and metal grids scatter light unpredictably, and your booth holds its colour punch all day.Build the colour block that gets noticedThe easiest way to get this right from the start is to build your backdrop out of panels that are already the colour, rather than trying to layer paint or fabric onto a grid. Our modular display kit comes in 19+ exclusive colours, with 35x35cm frosted panels that hold light evenly instead of glaring it back. Builds go up to five panels high, around 175cm, so the colour block is tall enough to actually register in someone's peripheral vision from across the room.FAQDo bright colours actually outperform neutral ones, or is that just a preference?It's grounded in how peripheral vision works, bold contrast and colour get noticed faster than muted tones, especially at a distance in a crowded room.Should I use more than one colour on my booth?One dominant colour is usually stronger than several competing ones. Let your art provide the secondary contrast instead of splitting your wall into multiple colours.Does lighting matter if my booth colour is already bold?Yes. Even a strong colour looks flat and forgettable under bad venue lighting, so a bit of clip lighting on your top shelf keeps the effect working all day.Ready to build a booth engineered to get noticed? browse the full kit lineup and pick your colour.

Zine Fest Setups: Small Space, Big Personality

Zine fests are a different animal. Half tables, shared tables, sometimes a literal card table wedged in a corner. You don't get much room, and you don't need much. What you need is a setup that makes a tiny footprint feel intentional instead of cramped.Small space means every inch has to earn its spotAt a full con you can spread out and let things breathe. At a zine fest you're often working a half table, sometimes sharing the surface with another vendor entirely. Flat displays eat your only real estate fast. Going vertical is the actual fix here. A compact build gives you shelf space stacked above the table instead of spread across it, so your zines, stickers, and mini prints all get a visible spot without needing extra width. The Core kit (24 panels) is built exactly for this, a tight footprint that still gives you real shelving instead of a flat pile.Personality sells at zine fests more than polish doesZine fest buyers aren't looking for a slick corporate booth. They're looking for a person behind a table who clearly made the thing they're holding. That said, personal doesn't mean messy. A clean little structure with your zines faced out and organized by series or theme reads as intentional. A pile of stapled paper on a bare table reads as an afterthought, even if the work inside is great.You're probably tabling solo, so setup speed actually mattersNo assistant, no partner, just you and your bag of zines. Setup that needs tools or takes forty minutes to wrangle eats into time you could be talking to people. This sets up in under 30 minutes with no tools, which matters even more at a half-table show where you might be doing it solo between panels and bathroom breaks.Zine fests travel light, your booth should tooA lot of zine fest vendors are hopping between multiple small shows in the same month, sometimes carrying everything on transit. A setup that packs flat and travels light is the actual dealbreaker feature here, not how tall it goes. You want something that fits in a bag, not something that needs a car trunk.Do I need a full kit for a half table zine fest?No. The Core kit (24 panels) is sized for exactly this. Bigger kits are overkill on a half table and just eat space you don't have.How do I make a tiny table look organized, not empty?Group by series or theme, face covers outward, and use vertical shelving instead of flat stacks. Empty space between groups reads as clean, not sparse.What's the biggest space mistake zine fest vendors make?Laying everything flat. It buries your best work under everything else and makes the whole table look cluttered even when it isn't.Tabling a zine fest soon? Check out our modular display kit or see the full kit lineup to find a size that actually fits a half table.

How Little Con Spaces Change Your Whole Display Strategy

Big cons and little cons are not the same event with different attendance numbers. They're different games entirely. What works at a 20,000-person convention center can actually flop at a 500-person local show, and most of that difference comes down to one thing: table space per vendor.Small cons mean smaller tables, more often than notLocal shows, indie markets, small fandom cons, they frequently run tighter table allocations than the big conventions because the venues themselves are smaller. If your whole display strategy was built around a full 180cm table, it's going to feel oversized and cramped the second you hit a smaller event with a half table or less.Modular beats fixed at every sizeThis is where a fixed shelving unit or a big printed backdrop actually works against you. It's built for one table size. A modular panel system isn't. The same panels that build a full 70-panel Shapeshift setup for a big con table reconfigure down into a tighter Base kit build for a small con's half table. You're not buying two display systems for two event sizes, you're rearranging one.Small cons reward closeness, not scaleHere's something people miss. Small cons often mean people are standing closer to your table for longer, since there's less crowd pressure pushing them past. That changes what your display needs to do. You don't need it to scream from across a massive hall. You need it to look sharp and curated up close, since that's the distance most people will actually experience it from.Setup time matters more at small eventsSmaller cons frequently have shorter vendor setup windows since the whole event runs on a tighter schedule. A kit that assembles in under 30 minutes with no tools fits that reality a lot better than a system that takes an hour of fussing with brackets. Pack flat into a 56x36x23cm carry-on and you're not even checking a bag to get to a small local show.Don't underbuild just because the con is smallIt's tempting to phone it in at a small local show, bring less, set up less. Resist that. Small cons often have the most engaged, loyal buyers, people who showed up specifically for indie art rather than general con traffic. A tight, well built vertical display earns real trust with that crowd even on a modest table.Should I bring a different display setup for small versus big cons?Not if your system is modular. The same panels scale down for a small con table or up for a big one, so you only need one kit.Do small cons really have tighter table space than big ones?Often yes, since venues are smaller and organizers work with less overall floor area, though it varies show to show.Is it worth investing in a full display kit for small local markets?Yes, especially since the same panels work at every event size going forward, so it's not a purchase you outgrow after one show.Small cons deserve the same care as the big ones. Check out our modular display kit or browse the full kit lineup to build a setup that scales with every event on your convention journey.

Choosing Panel Colours That Actually Match Your Art Style

Picking a panel colour shouldn't be the last five-minute decision you make before checkout. It's actually one of the biggest calls you'll make about how your booth feels, and it deserves more thought than "black looks safe."Start by naming your art's actual palettePull up ten of your best pieces and look for what repeats. Not what you WISH your palette was, what's actually there. Muted earth tones? Saturated neon? Pastel and soft? Whatever shows up again and again across your work is your real answer, and your panel colour should echo it, not fight it.Match the mood, not just the hueThis is where a lot of artists get it wrong. They pick a panel colour that's technically in their art but sends the wrong mood. A single muted grey accent in an otherwise vibrant piece doesn't mean grey panels are the right call, it'll flatten the energy of everything else on the table. Match the overall FEELING of your work: soft and dreamy, bold and graphic, dark and moody, whatever it actually is.With 19+ exclusive frosted colours available, there's real room to find that mood instead of settling for a generic neutral. Browse all 19+ colours and hold a few swatches up against prints of your actual work before deciding.Use contrast to make your art pop, not competeYour panels are a frame, not a competitor. If your art is busy and colourful, a calmer panel colour lets it stand out. If your art leans minimal or monochrome, a slightly bolder panel colour can add energy without overwhelming the actual pieces. The goal is contrast that flatters, not contrast that fights for the same attention.Let the material do some of the work for youWhatever colour you land on, it'll look better because of how the panels are built. The 35x35cm frosted polypropylene diffuses light instead of bouncing it back harshly, so your chosen colour reads richer under convention lighting instead of washing out. That's part of why our modular display kit looks considered even before you've hung a single print.Should I pick a panel colour that's already in my logo?It's a good starting point if your logo palette matches your actual art. If they've drifted apart, trust the art over the logo.Is it okay to use more than one panel colour?Yes, especially with a modular system, but keep it to two tones max so the wall reads as designed, not scattered.What if my art style changes a lot between series?Pick a neutral frosted tone as your base and let smaller accents, like table runners or cards, shift with whatever series you're currently showing.The right panel colour doesn't shout over your art. It makes people see the art faster and trust it more, which is the whole point of picking one on purpose instead of by accident.

Why Your Signage Is Probably Too Small

Quick test. Stand six feet from your own booth and try to read your prices. Can't do it? Neither can the hundreds of people walking past you every hour. Small signage is one of those mistakes that feels harmless because YOU can always read it up close. The problem is nobody buys from up close. They decide whether to stop from across the aisle. The sticky-note price tag Handwritten prices on tiny sticky notes are everywhere in artist alley, and they're quietly costing sales. Attendees are moving fast and scanning a wall of visual noise. If your prices aren't legible at a glance, people either keep walking or awkwardly lean in and ask, which slows everything down and creates friction that just doesn't need to exist. Your banner looks great but says nothing A gorgeous logo banner is nice, but if it doesn't tell a stranger what you actually sell, it's not doing its job. "Prints, stickers, enamel pins" in bold letters above your table does more heavy lifting than another beautifully rendered character illustration. Save the character art for the table. Use the banner space to communicate FAST. Signage placed too low to see Even good signage fails if it's sitting flat on the table below eye level, buried behind a stack of prints. Attendees are scanning at standing height as they walk. Vertical panel structures give you natural spots at eye level to mount pricing and category signs where people will actually see them, instead of hoping someone glances down. Inconsistent sizing across your whole booth One big sign, three tiny ones, a QR code the size of a stamp. Inconsistent signage reads as unplanned, even if your art is incredible. A modular kit with a proper panel structure gives every sign a consistent, intentional spot, so the whole booth looks like it was designed as ONE thing instead of assembled last minute. How big should artist alley price signs actually be? Big enough to read from about six feet away without squinting. If you have to get close to read your own sign, it's too small. Where's the best place to put signage on a booth? At eye level, not flat on the table. A vertical panel structure gives you natural mounting spots that stay visible even when the table is busy. Does bigger signage actually increase sales? It increases the number of people who stop, which is the first step to any sale. You can't sell to someone who kept walking. A structured setup gives your signage somewhere real to live. Check out a proper modular display kit with panels built for eye-level signage, and see the full kit lineup to find your size.

Packing A Full Booth Into The Back Of A Hatchback

You don't need a van. You don't need a roof rack. You don't need to fold your back seats down and drive with your knees to your chest for four hours. If you're squeezing a full booth into a hatchback and it feels impossible, the problem isn't your car, it's your display. Bulky displays eat trunk space fast Grid walls, wooden frames, folding tables with fixed legs, these things take up space in awkward shapes. A hatchback trunk is not awkward-shape friendly. It wants flat things, stackable things, things that don't have weird angles jabbing into your grocery bags. A modular kit that breaks down flat solves this directly. Panels stack like plates. Connectors and hooks bag up small enough to tuck into gaps around everything else. Suddenly your trunk isn't a puzzle, it's just organized. Build your car load around flat panels first Load order matters. Flat panel stacks go in first, laid down along the trunk floor. Everything else, inventory bins, signage, your bag, builds around them. Since the panels are frosted polypropylene, they're light enough that stacking them under other gear doesn't stress or crack them the way a heavier material would. Right-size your kit to your actual car, not your dream booth If you're driving a hatchback, you probably don't need the Shapeshift Max (92 panels) unless you're doing a big double booth. The Shapeshift kit (70 panels) is the most popular size for a reason, it covers a full standard table and still packs into a small car without a fight. Going smaller, the Core (24 panels) or Shapeshift Base (46 panels) leave you plenty of trunk room for inventory too. Compare sizes on the full kit lineup before you commit to one, and match it against how much car you actually have. Setup speed matters when you're solo-driving If you're driving alone to a show, you're also unloading alone. A kit that assembles in under 30 minutes with no tools means you're not wrestling a heavy frame across a parking lot by yourself. Our modular display kit clicks together by hand, panel by panel, no allen key required. Will a full 70-panel kit really fit in a small car? Yes. Because the panels pack completely flat, even a full-size Shapeshift kit stacks down into a manageable footprint in a hatchback trunk. How do I avoid damaging panels when they're stacked under other gear? Keep panels flat and load them first, along the trunk floor, before adding heavier bins on top. Avoid standing them on edge where they can bend under weight. What's the best kit size for a small car and solo travel? The Shapeshift (70 panels) hits the sweet spot for most vendors, full table coverage without needing a bigger vehicle. Size down to the Core or Shapeshift Base if trunk space is really tight.

What are your planned setups going to be?

Half table (90cm / 3ft)

Sharing a table or just starting out

Full table (180cm / 6ft)

The standard table at most cons, markets & fairs

Double, corner or booth (360cm / 12ft)

Two tables, an L-shape, or a full corner stand

Free-standing booth (no table)

A floor-standing wall, no table needed

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How long do you plan to use it?

Just trying it out

1–3 times

Going to do markets more often

3–20 times/year

Multi-year use

Built to last, with room to grow

What do you display?

Small prints, cards, pins & stickers

Flat, lightweight, easy to pin

Large prints & posters

A2 and up, needs room to breathe

Large items : Apparel/bags/figures/3d merch/home goods

Heavier, bulkier pieces that need sturdy shelf framing

Jewellery, charms & keychains

Small and light, lots of little hooks

Select all that apply

How tall do you want it?

Keep it low so my table and wall stay visible

A clean, low backdrop that frames your work

Build tall framing for maximum impact

A towering wall that pulls eyes from across the hall

Which colours catch your eye?

Amber Yellow

Apricot

Avocado Green

Blue Sky

Forest Green

Fully Black

Grape Purple

Ivory White

Jade Green

Lavender Purple

Lilac Purple

Mint Green

Royal Blue

Scarlet Red

Snow White

Tan Brown

Terracotta

Watermelon Pink

Yuzu Yellow

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Your stall. Infinite installs.

Lightweight panels and snap on connectors shapeshift together.

Iron frame with frosted, water resistant surfaces for light & mighty structures.

Artistbooths Bundle Component Frosted Lavender Purple (PMS 2715 C) Panel Square (35x35 cm) [8-pack]

B-grade artist booth panel - discounted cosmetic-second stock

Artistbooths Bundle Component Frosted Lilac Purple (PMS 263 C) BOOF Panel Triangle (35x35 cm) [2-pack]

Artistbooths Bundle Component Frosted Lilac Purple (PMS 263 C) BOOF Panel Half Square (35x17.5 cm) [4-pack]

Artistbooths Single Connectors & Accessories White Square Wire Grid (35x35 cm)

Artistbooths Single Connectors & Accessories White Edge Connector

Stand out pop ups.Shapeshifting setups.

Custom shapes and mix-and-match colours, built to sell for years.

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build a booth that builds a crowd

Little parts. Big payoff.

Why makers love our booths.

Every detail pulls its weight.

Stand out, sell out.

Be the eye-catching brand whose cohesive look draws a crowd and gets remembered.

Grow with you.

Enough parts to range products from small table to large booth.

Shape your brand.

Triangles, rectangles, hinge panels and connectors, in colours you mix yourself, for infinite display setups.

Be memorable.

Seasonal colours keep your brand unique. Frosted finish gives your art a soft spotlight.

Range & sell more.

Self-serve more customers with parts that make the most of smaller spaces.

Strong where it counts.

An iron core holds heavy stock whilst water-resistant surfaces shrug off spills and weather.

Packs light, carries safe.

Panels weigh 150g each. The double-wall carry box protects up to 30 decorated panels every trip.

Spares for years.

Every kit packs extra parts, so when you scale up or lose a piece you can keep running your vision.

Build your modular display kit

Mix and match colours and shapes. Sized for market, convention and trade-show tables up to 6 ft / 180cm.

1. Choose kit size

Only available

2aChoose your base 24 square & 22 multi-shape panel colours What colour would you like the first half of multi-shape panel colours to be?

Get a 2-colour setup by swapping 24 of 48 square panels to another colour.

Get a 2-colour setup by swapping half your panels to another colour.

2bWhat colour do you want the other 24 squares to be in this kit? What colour do you want the other half of your kit to be? Included · $0

Get a multi-colour setup by swapping 24 of 48 square panels in another colour.

Get a 2-colour setup by swapping half of square & multishape panels into another colour

3. Bundle and Save (optional)

Range more & get creative with more colours, shapes & display accessories.

15% off accessory packs when bundled with kits

46 multi-shape panels156 accessories

Shapeshift Base Kit Add-on

$559.00

Grape Purple Frosted

Square Panel [24 Pack] (35cm / 13.8in) Add-on

$450.00

Scarlet Red Frosted

Triangles Panels 4 Pack [35cm / 13.78in] Add-on

$100.00

Terracotta Frosted

Half-Squares panels [5 Pack] [17.5x35cm / 6.89x13.78in] Add-on

$100.00

Tan Brown Frosted

Self Serve Hook with wire grid T clip 8cm [10 pack] Add-on

$40.00

Self serve display Grid & Intersection Hook expansion pack [12/24 Mixed pack] Add-on

$100.00

Multi Connector Expansion Pack - White - Bundle & Save [16/32 mixed pack] Add-on

$120.00

Square Wire Grid Expansion Pack - 35cm x 35cm/13.7"x13.7" Add-on

$60.00

Hinged Square panels [5 Pack] [35cm / 13.78in] Add-on

$100.00

Forest Green Frosted

Mini Rectangle Panels [5-Pack] (17cm x 35cm/6.69in x 13.78in) Add-on

$100.00

Amber Yellow Frosted

Foot Connector Expansion Pack [4 Pcs] Add-on

$59.00

Mixed Single & Double Wire Shelf Clip [9 pack] Add-on

$45.00

Booth Wheel & Wheel Connector - white - [4 pack] Add-on

$60.00

Corner Connector Expansion Pack [8 pack] Add-on

$60.00

Edge Connector [8 pack] Add-on

$60.00

Single Shelf Wire Clip White [5 pack] Add-on

$35.00

Double shelf wire clip white [4 pack] Add-on

$30.00

Self serve display Grid & Fold Hook expansion pack [12/24 Mixed pack] Add-on

$110.00

Foldable Self Serve Hook (with wire clip) - [20 pack] Add-on

$80.00

White

Foldable Self Serve Hooks (with adhesive sheet) [20 pack] Add-on

$50.00

White

Metal mallet (with dual rubber/soft tap sides) [1 pc] Add-on

$40.00

Panel Clamp Black 3cm Mouth [4 pcs] Add-on

$40.00

17" ITA Tote (40x35cm) Puffy Purple + Pin pad with 5 pockets Add-On

$129.00

Foldable Croc Hooks (adhesive) - 10-pack

$50.00

Black

Dual headed metal mallet (with soft tap side)

$40.00

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