What is a modular artist booth kit?

A modular artist booth kit is a set of interlocking frosted panels and connectors that snap together by hand, with no tools, to build display walls, shelves, and cubes for artist alley tables, convention booths, and markets. You arrange the panels to suit your space, then take it apart and rebuild it differently at your next event. Our kits are designed around a standard 180 cm / 6 ft table and can expand to cover a corner or a full booth.

How are your panels better than wire grid cubes?

Wire grid cubes work, but your art competes with the busy metal mesh and clutter showing through. Our frosted panels give you a clean, light-diffusing backdrop so your prints and merch stand out. They are far lighter than steel grids, pack completely flat for travel, and snap into different layouts in under 30 minutes with no tools.

What size tables do your kits fit?

Square Core Kit and Shapeshift Kit fit half tables and counters (around 90 cm / 3 ft). Shapeshift Duo Kit fits a full 180 cm / 6 ft table with tall framing. Shapeshift Max Kit fits double and corner setups (360 cm / 12 ft), free-standing booths, and full convention exhibitor spaces. Every panel and connector is cross-compatible.

How long does setup take?

Most artists have their kit fully set up in under 30 minutes, with no tools and no zip ties. You simply snap the connectors into the panels and stack.

Do you ship internationally?

Yes. We ship worldwide using FedEx Express, and shipping is free on orders over $300 AUD. For 33 countries including the United States, Canada, the United Kingdom, and the EU, we ship Delivered Duty Paid so the price you see covers customs duties and import taxes.

Can I mix two colours in one kit?

Yes. The Shapeshift Duo and Duo Max kits are built to be two-tone. You can also mix in extra colours with the square and mini rectangle panel add-on packs.

How much weight can these setups hold?

Each shelf panel holds up to 5 kg / 11 lb when built correctly, which covers prints, books, apparel, bags, figures and most 3D merch.

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Artist Back Alley Resources Blog

The Self-Serve Checkout Flow That Keeps Lines Moving

Long lines at a vendor table look great in photos. In reality, they cost you sales. People see a queue, keep walking, and never come back. The fix is a checkout flow that moves FAST without requiring you to babysit every transaction. Here are the moves that keep things rolling. 1. Price Everything Visibly If a customer has to ask "how much is this?" you have already lost momentum. Every item gets a clear, readable price tag. No mental math. No ranges. One number, right there on the product or the shelf label. Use your display panels as price signage too. A printed card pinned to your modular display at eye level does double duty: it organises your layout and eliminates the most common question. 2. Group by Price Point Sections, not chaos. All your $10 prints in one zone. All your $25 pieces in another. Customers self-sort to their budget INSTANTLY. You spend less time explaining and more time processing payments. 3. Set Up a Tap-and-Go Payment Station A dedicated payment spot with your card reader, a small sign showing accepted methods, and a clear "pay here" marker. Customers know exactly where to go when they are ready. No hovering. No awkward "so, um, how do I pay" moments. Keep the reader charged, keep a backup battery, and test it before the doors open. A dead reader at peak hour is a DISASTER. 4. Use a Self-Serve Browse Layout Build your display so customers can pick up, flip through, and examine products without needing you to hand them anything. Shelves at browsing height. Bins they can dig through. Print racks they can flip. Frosted panels work well here. They diffuse light evenly across displayed art, so colours read true without glare. Customers trust what they see and make faster decisions. 5. Bag It Before They Ask Pre-bag your most popular items. A stack of prints in clear sleeves, ready to grab. Pins on a card, sealed. When someone picks an item and pays, they are out the door in 30 seconds. That speed compounds across a full day. 6. Post Your Policies, Do Not Recite Them Returns? Commissions? Discounts for multiples? Print a small sign and pin it to your display. Saves you from repeating the same spiel 200 times and lets customers read on their own TERMS. 7. Keep Restock Off the Table Surface Backup stock lives under the table or behind the display, never on the selling surface. A cluttered table slows browsing, slows decisions, and slows checkout. Your display surface is a selling machine. Treat it like one. A five-panel-high modular setup gives you vertical real estate above the table while keeping the table itself clean for transactions and browse-ready product. 8. Run a Two-Zone System Zone one: browse. Zone two: pay. Physical separation prevents the bottleneck where a paying customer blocks three browsers. Even a small gap between your display wall and your payment station creates flow. At busy cons, this alone can increase your throughput by a THIRD. More transactions per hour, less stress, happier customers who tell their friends about the vendor with the smooth setup.

Turning A Corner Spot Into The Best Real Estate In The Room

Most artists dread the corner booth. You get traffic from one side instead of two. You are at the end of a row where foot traffic dies. Your table faces a wall or another table back. But veteran con sellers LOVE corners. They request them. They pay extra for them. Because a corner spot, used correctly, becomes the best visual real estate in the room. Here is how to turn that dead-end into a destination. 1. Wrap Your Display Around The Corner This is the move that changes everything. Instead of one flat backdrop, build an L-shaped wall that wraps around both open sides of your table. A modular display kit with 46+ panels gives you enough to build two walls at 175cm high, creating a mini gallery that is visible from two aisles instead of one. With the any-angle panels in the Angled kits you can cap that corner with a roof or an awning, because they swing both ways and set at any angle. Suddenly your "dead" corner is a landmark. People see the tall display from the cross aisle and walk over to investigate. 2. Face Your Best Work Outward On a corner, you have two "facades." Put your absolute best piece on the side that faces the most traffic. This is your billboard. It pulls people around the corner to see what else you have. The second wall gets your catalogue, your variety, your depth. 3. Use The Dead Wall As Storage If one side of your corner faces a wall or another table back, do not waste panels on it. Use that side as hidden storage. Stack your inventory boxes there, hang a bag organiser, keep your lunch behind the display. The panels hide it from customer view while keeping everything within arm reach. 4. Create A Flow Path The best corner booths feel like you are entering a small shop. Put the entry point at the aisle corner where both paths of traffic converge. Let customers flow in along the open side, browse the L-shaped display, and exit past your checkout area. This keeps traffic moving instead of creating a crowd that blocks your table. 5. Double Your Shelf Space Two walls means twice the shelf opportunities. PLA hooks hold 5kg per shelf, so load up. Put prints and large items on the tall panels. Put small merch, stickers, and impulse buys on lower shelves at hand height. You just doubled your selling surface without taking up any more floor space. 6. Light The Inside An L-shaped booth creates a slight enclosure. Overhead con lights might not reach the inner corner. A small USB light strip along the top panel row fixes this instantly. The frosted panels diffuse it so you get an even glow, not a harsh spotlight. Corner spots are underrated because most people set up the same flat table they would use anywhere else. Wrap it, build up, and use both walls. The full kit range starts at 24 panels for small tables, up to 92 for massive corner setups. Ships from Sydney, 1 to 3 days.

How Colour Blocking Makes Your Table Impossible To Miss

Walk into any artist alley and do a quick scan. What catches your eye first? It is almost never a specific piece of art. It is a BLOCK of colour. A table where the display itself has a cohesive colour story that reads as one thing from 10 metres away. Colour blocking is not new in retail or interior design. But most convention artists have never applied it to their booth, and the ones who do stand out so dramatically that people assume they spent thousands on their setup. What Colour Blocking Means For A Booth It means your display panels, your tablecloth, and your background are all working together in two or three coordinated colours. Not matching perfectly. Coordinating. A deep navy panel wall with cream accents and your art providing the colour variety. Or a soft lilac backdrop with slate blue shelves and white product cards. With modular display panels available in 19+ colours, you can actually plan this. Pick your dominant colour for the back wall. Pick a contrast colour for side panels or shelves. Let your art be the third colour. Done. Why It Works On The Convention Floor Convention halls are visually chaotic. Every table is screaming for attention with different colours, different fonts, different banner styles. In that chaos, a booth with a UNIFIED colour story reads as calm. And calm attracts people the way a quiet room attracts you at a loud party. Your eye goes to the booth that looks intentional. Three colours, repeated consistently, signal that someone thought about this. That signal translates directly to "this person is professional" which translates to "their products are worth buying." The Practical Colour Blocking Formula Here is the formula that works. Pick colours in a 60/30/10 split. 60% dominant: Your panel wall. This is the biggest visual surface. Pick something that complements your art without competing. Navy, black, cream, and sage work for most portfolios. 30% secondary: Shelves, side panels, tablecloth. A contrasting or complementary colour. If your wall is dark, go lighter here. If your wall is light, add depth with a medium tone. 10% accent: Price tags, business cards, small details. This is where you can be bold. A pop of coral or gold against a navy wall catches the eye exactly where you want it, on your price tags and calls to action. Changing Your Palette Per Event Here is where modular panels beat permanent displays. Doing a Christmas market? Swap in deep red and forest green panels. Summer art fair? Go pastel. Same structure, different colours, completely different vibe. You are not stuck with one look forever. Or one shape: the Angled kits add any-angle panels that set at any angle, so the same blocks of colour can form a roof, an awning or an arch. The panels click in and out with ABS connectors, so swapping colours takes minutes, not a rebuild. Check the full kit range to find your starting size, then add colour packs as your brand evolves. Frequently Asked Questions What if my art is very colourful and I am worried about clashing?Go neutral on the panels. Navy, charcoal, cream, or white let your art provide all the colour. The display becomes the frame, not a competing canvas. How many panel colours should I buy?Start with two. One dominant, one accent. You can always add more later since the connectors work across all colours.

Travelling By Train To A Convention: What Actually Works

Not everyone drives to cons. And not everyone flies. If you're in a city with decent rail connections, trains can be the sweet spot: cheaper than flying, less stressful than driving in traffic, and you can actually read or sleep on the way. But only if your gear cooperates. The challenge with train travel is simple. You carry EVERYTHING yourself, through stations, up stairs, across platforms, and onto a carriage with limited luggage space. No car boot. No check-in counter. Just you and whatever you can move in one or two trips from the platform to your seat. The Two-Trip Rule If you can't get all your gear from the platform to your seat in two trips (leaving bags unattended for one return), you've packed too much. Most trains don't have porters. Many stations don't have lifts. And the gap between the platform and the carriage door is where oversized items become your enemy. This is where traditional displays fail hard. A gridwall doesn't fit through a train door easily. Metal frame displays are heavy enough that carrying them plus stock boxes plus your personal bag means three or four trips. By the time you're seated, you're already exhausted and the show hasn't started. What Fits On A Train The ideal train-travel kit is: one rolling suitcase (stock), one backpack (personal items, laptop, money float), and your display in a carry-on sized bag. The modular display kit packs into a 56x36x23cm case that sits on top of your rolling bag or slides into the overhead rack. That's three items total. Two trips MAX, usually one. The weight matters as much as the size. Dragging heavy gear through a train station at rush hour, navigating turnstiles and escalators, is genuinely miserable. Lightweight panels and plastic connectors make the whole load manageable for one person. Platform-to-Table Timing Trains run on schedules, and so do conventions. When your train arrives at 8:15 and doors open at 10:00, you have a fixed window to get from the station to the venue and set up. Every minute spent wrestling gear is a minute you're not arranging stock or getting your payment system running. A display that goes from bag to built in under 30 minutes means you can arrive 90 minutes before doors and still have time for coffee and a bathroom break. That buffer is EVERYTHING when you're relying on public transport timing. The Return Trip Is Harder Nobody talks about this, but the trip home is always worse. You're tired. You might have unsold stock that's heavier than you expected. The adrenaline of the show is gone and you're just a person on a train with a lot of bags. This is where quick teardown and compact packing pay off the most. Panels snap apart, stack flat, and go back into the case. You're not trying to collapse a frame or disassemble something with tools while other vendors are packing around you. Fifteen minutes and you're walking to the station. Frequently Asked Questions Can I use a luggage cart at the station?Some major stations have them, most suburban ones don't. Don't count on it. Pack so you can carry everything yourself. The modular display is light enough that you can carry it in one hand while rolling a suitcase with the other. What about bus connections from the station?Same rules apply, but tighter. Buses have even less luggage space. A carry-on sized display fits on your lap or in the overhead if needed. Check the full kit range to find a size that keeps your total load manageable. Is train travel worth it for a one-day show?If the train gets you there with time to set up and back before midnight, absolutely. You save on parking, fuel, and the stress of driving tired after a full day of selling. The key is keeping your gear light enough that the journey doesn't wipe you out before you start.

The Booth Height Sweet Spot Nobody Talks About

There is a height that works better than any other for convention displays. It is not as tall as possible. It is not "whatever fits." It is a specific zone that catches attention without creating problems, and almost nobody discusses it because the people who know it just quietly use it. The Magic Number: 170 to 180cm The sweet spot is roughly head height for most adults. At 175cm (about 69 inches), your display is tall enough to be seen over a crowd but not so tall that it blocks sightlines for the people behind you, which gets you in trouble with event organisers FAST. A modular display kit stacks 5 panels high to hit exactly 175cm on a standard 180cm table. This is not an accident. Each 35x35cm panel adds a predictable increment, so you can build to the right height every time without guessing. Why Taller Is Not Better Artists who build 200cm+ displays run into three problems. First, event staff tell them to take it down. Most cons have height limits between 180 and 210cm, and you do not want to rebuild mid-event. Second, tall displays topple. A 200cm freestanding grid panel with prints clipped to it is a liability on a convention floor where people bump things. Third, anything above eye level does not sell. Customers do not look up. They look straight ahead and slightly down. The 175cm sweet spot keeps your top row at eye level for tall adults and just above eye level for average height, which means every panel is in the selling zone. Why Shorter Wastes Your Space A lot of artists stop at 3 panels high because they are nervous about stability. That gives you a display barely above table level. You are invisible from more than one row away, and you are wasting vertical real estate that could hold more product. The ABS connectors in a modular kit are engineered for this. Five panels high is the design target, not a stretch goal. It is stable, rigid, and does not wobble when someone bumps your table. Each shelf connection holds 5kg, so you can load it with actual product. Adjusting For Different Events Markets and outdoor fairs sometimes have lower limits. The modular approach lets you drop to 4 or 3 panels high in seconds. No cutting, no re-engineering. Just remove a row. For corner booths, wrap the display around two sides at full height and you have a mini gallery that pulls traffic from two aisles. Browse the full kit range from Core (24 panels) to Shapeshift Duo (92 panels) depending on your table size and layout goals. Frequently Asked Questions What if my con has a strict 180cm height limit?Five panels at 175cm sits comfortably under 180cm limits. You have 5cm of clearance, which also gives you room for a small light strip on top if you want one. Is 5 panels high stable without anchoring to the table?Yes. The ABS connector system is designed for freestanding builds at this height. On smooth floors with no table, you might want a base row for extra footprint, but on a table the weight distribution keeps it solid. Can I go higher for trade shows where limits are 240cm+?You can stack more panels, but the sweet spot for SALES is still 170 to 180cm. Above that, use the extra height for branding or signage, not product.

Designing Your Display Around Your Logo, Not The Other Way Around

Most artists design their logo first. Then they try to make their booth match it. This sounds logical but it's backwards. Your display is the biggest canvas you own. Your logo is a small mark that sits inside it. Design the space first. Let the logo live in it, not fight it. Here's how to build a modular display that makes your logo feel at home instead of forcing your whole booth to serve a 10cm graphic. Your Logo Is A Detail, Not The Main Character Walk any convention floor and you'll see it. Artists who plastered their logo across a massive banner and then built a random assortment of products underneath it. The logo screams. The booth whispers. They don't match. Your logo should feel like it belongs in your booth, not like it's trying to overpower it. If your logo uses navy and gold, your panel wall in navy already echoes the brand. The logo becomes a natural accent on a small sign or card. Not a billboard desperately trying to create brand recognition on its own. Extract The Palette, Not The Graphic Your logo has a colour palette. That palette is the bridge between a small graphic and a full booth environment. Pull your two dominant logo colours. Use the primary as your panel wall colour. Use the secondary on your tablecloth, signage, or packaging. Example: your logo is teal text on a white background. Your booth becomes white panels (from the full kit range) with teal accents on your business cards, price tags, and table runner. The logo sits small on a card stand. But the teal repeats EVERYWHERE at a subtle level. That's cohesion. That's what makes someone say "this booth feels like a brand." Let Your Display Shape Inform Your Brand Elements The 35x35cm panel grid creates a visual rhythm. Straight lines. Clean edges. A modular, geometric feel. If your logo is organic and flowing, that contrast can look great. But it means your logo should sit on a simple white card or banner, not try to wrap around the panels. If your logo is geometric and clean, lean into the grid. Let it echo the panel lines. Place it centred on a top panel or at eye level on a side return. The grid does the design work for you. The key insight: your booth's physical structure IS a design element. Work with it instead of trying to override it with printed materials. Frequently Asked Questions Should I put my logo directly on a panel? You can, with a vinyl sticker or a small printed card hung from a PLA hook. But don't cover multiple panels with one giant logo. It fights the grid and usually looks worse than a small, well-placed mark at eye level. What if my logo colours don't match any available panel colours? Go neutral. White or frosted panels work with every logo palette. Use your brand colours on your table surface, signage, and packaging instead. The panels become a clean backdrop that lets everything else carry the brand. My logo has five colours. Which ones do I use for my booth? Pick the two most dominant. Five-colour booths look chaotic. Two colours plus your art is plenty. Let the other three logo colours live in your printed materials where they're seen up close, not across a convention hall.

Why Copying Someone Else's Setup Never Works As Well

Last year at a mid-size comic con in Melbourne, two artists set up almost identical booths. Same brand of grid panels. Same clip-on lights. Same tiered print rack from the same online tutorial. They were three tables apart, and from a distance, their setups were interchangeable. One of them sold out by Saturday afternoon. The other packed up early on Sunday with half her inventory still in the box. The difference was not talent. Both were excellent illustrators. The difference was that the artist who sold out had built her display around HER work, and the other had built her display around someone else tutorial. The Tutorial Trap There is a whole genre of "my con setup" videos on YouTube and TikTok. They are helpful for getting started. But they create a problem: when 200 artists at the same con all follow the same three tutorials, you get 200 tables that look the same. Wire grids. Command hooks. Acrylic risers. It is the artist alley starter pack, and attendees have seen it enough times that it no longer registers. The artist who sold out in Melbourne had done something different. She had taken a modular display kit and arranged the frosted panels in an L-shape that matched her portfolio layout. Her biggest prints were mounted at eye level, 175cm high. Her small stickers and pins were on shelves built into the lower panels using PLA hooks rated to 5kg. Everything was placed where SHE wanted it, not where a tutorial said it should go. Your Art Has A Shape Every artist has a product mix. Maybe you do large format prints and enamel pins. Maybe you do zines and plushies. Maybe you sell one thing: gorgeous A3 prints. Each of those mixes needs a different display layout, and no tutorial accounts for YOUR specific combination. Modular panels solve this because you rearrange them. Literally. 35x35cm panels with ABS connectors click into whatever shape your work needs. Tall and narrow for vertical prints. Wide and short for a table full of merch with a small backdrop. L-shaped for a corner booth. The display adapts to you instead of you adapting to a tutorial. The Real Advantage When your booth looks like YOUR brand instead of a tutorial recreation, something shifts. Customers treat you like a business, not a hobbyist. They linger. They ask questions about the display itself, which is a free conversation starter that leads to sales. 19+ panel colours. Sets up in under 30 minutes. Packs flat into a 56x36x23cm carry-on. Ships from Sydney to 50+ countries in 1 to 3 days. Check the full kit range and build something that is actually yours.

Beating The Crowd Blindness Problem At Big Cons

Big conventions have a problem nobody talks about openly. After about 90 minutes of walking an artist alley, attendees stop seeing individual tables. Their eyes glaze. They walk faster. They default to booths they already know or ones with a physical line. Everything else becomes wallpaper. We have watched this happen at events with 300+ tables. The artists at table 240 get a FRACTION of the foot traffic that table 12 gets, and it is not because they are worse. It is because the audience is visually exhausted. So how do you break through when you are stuck in row J? Height. That is it. That is the whole trick. When every table is a flat surface at waist level, anything that rises above that plane becomes a landmark. A booth built 5 panels high to 175cm is visible over the crowd from three rows away. People use it as a navigation point. "Meet me at the tall colourful booth in row J." You become the reference, not the wallpaper. It is not about being the loudest. The artists with the giant speakers and the flashing lights get attention for about 10 seconds. Then people walk away because it feels like a sales pitch. A tall, clean display with your art mounted on frosted panels feels like a gallery. People SLOW DOWN around galleries. A modular display kit gives you that vertical presence on a standard 180cm table. 24 panels for a Core setup, up to 92 for a full Shapeshift Duo if you have the space. Sets up in under 30 minutes, packs into a carry-on bag. You cannot control your table assignment. You CAN control whether people see you from across the room. Build up. Browse the full kit range and stop being invisible at row J.

What A Judge Notices In The First 5 Seconds Of Your Table

If you have ever done a juried con, a market application, or an art fair review, someone looked at your booth for about five seconds and made a decision. Five seconds. That is not enough time to read your artist statement. It is barely enough to scan your table from left to right. So what are they actually seeing? We talked to event organisers and veteran artists who have sat on jury panels. Here is what registers in those first seconds. 1. Vertical Presence The first thing a judge clocks is whether your booth has HEIGHT. A flat table reads as "just showed up and put stuff down." A booth that builds upward to 175cm reads as someone who takes this seriously. A modular display kit stacks 5 panels high on a standard 6ft table and creates a clean wall that reads as intentional, not cluttered. 2. Cohesive Colour Not your art colours. Your DISPLAY colours. Judges see hundreds of applications. The ones that stick have a table where the structure, the backdrop, and the layout all feel like one thing. Pick two or three panel colours that match your brand. With 19+ colours to choose from, there is no excuse for a mismatched booth. 3. Negative Space This is the one most applicants get wrong. A packed table looks desperate. A table with breathing room looks curated. Judges read negative space as confidence. Leave gaps. Let your best pieces have their own spotlight. Five well-placed prints on a frosted panel wall beat thirty prints crammed into a wire grid. 4. Clean Edges Are your prints straight? Are your shelves level? Is your tablecloth wrinkle-free? Judges notice crooked things the way you notice a tilted picture frame in someone else house. ABS connectors click together at consistent angles, so your structure stays square without shimming or tape. That precision shows. 5. Evidence Of Real Sales Experience This one is subtle. Judges look for signs that you have actually SOLD at events before. A setup that looks portable and practical signals experience. If your booth clearly packs flat and travels well (the whole kit fits in a 56x36x23cm carry-on), it tells them you are a working artist, not someone building a display for the first time in their living room. Check the full kit range to find the size that fits your table and your travel plans. Ships from Sydney in 1 to 3 days to 50+ countries.

Small Business Pop-Up Shops: The Display Basics

Sarah brought a folding table, a bedsheet, and sixty handmade candles to her first pop-up. She arranged everything flat on the table, taped a hand-lettered sign to the front, and waited. For five hours. She sold four candles.The vendor across the aisle had fewer products but a display that went vertical. Shelves, height, colour. People STOPPED. They looked. They bought. Sarah watched it happen all day and went home asking herself what was different.The product was not the problem. The display was.Height Is EverythingA flat table is invisible in a pop-up. Customers walk past stalls at eye level. If your products sit below the sight line, they do not exist. Building upward with shelves or a panel backdrop is the single biggest change you can make.A display that stacks five panels high reaches 175cm. That puts your products and branding right where eyes naturally land. The modular display kit does exactly this with interlocking frosted panels that create clean, gallery-style shelving on any standard table.Less Product, More SpaceFirst-timers always bring too much. They pile everything onto the table and create visual chaos. Customers cannot focus when there are 80 items competing for attention.Pick your top 10 to 15 products. Give each one room to breathe. Use height and spacing to create a flow that guides the eye from one item to the next. The empty space between products is what makes each one look WORTH picking up.Consistency Reads As ProfessionalColour matters more than you think. When your display, packaging, and signage share a colour palette, the whole stall looks like a brand instead of a garage sale. With 19+ panel colours available, matching your brand to your backdrop is straightforward.Pack Smart Or SufferPop-ups mean loading and unloading. Every event. If your display is heavy, bulky, or fragile, you will dread the setup and eventually skip events because of it. The best pop-up displays pack flat and fit in a car boot or even a carry-on case.A modular panel kit fits into a 56x36x23cm case. Setup takes under 30 minutes with no tools. That is the difference between a display you use once and a display you bring to every single event.Sarah figured this out by her third pop-up. She spent less on her display than she had on her first batch of candle wax. And she sold out. Browse the full kit range to see what fits your setup.

How A Glowing Backdrop Beats A Loud Sign Every Time

Convention halls are loud. Not just the noise, the visuals. Every table has a banner. Half of them have LED strips. A quarter have those clip-on spotlights that blind the person at the next table. In that environment, more loud does not win. Different wins. And the most RELIABLY different move is a backdrop that glows. Why Glow Works Better Than Brightness There is a difference between bright and glowing. Bright is a spotlight aimed at your banner. Glowing is a surface that catches and scatters ambient light so the whole display looks lit from within. Convention halls have massive overhead fluorescents. Frosted panels turn that free lighting into a diffused, even glow across your entire booth. A modular display kit uses 35x35cm frosted polypropylene panels that do exactly this. No batteries. No extension cords. No asking your table neighbour if you can share their power strip. Signs Compete. Backdrops Frame. A banner says "look at me." A backdrop says "look at my work." That is not a small difference. When someone walks past a well-built booth with art mounted on a glowing frosted wall, their eye goes straight to the art. The display disappears into the background the way a good frame does for a painting. Big signs also create a problem: they block sightlines. A 175cm tall display wall built from panels gives you the same height as a standing banner but lets you mount actual product on it. Every square centimetre is selling space, not advertising space. The Setup Cost Is Backwards Most artists spend more on signs and banners than on their actual display structure. A custom vinyl banner runs $60 to $150. A retractable banner stand is another $80 to $200. Add clip lights, a tablecloth, and risers, and you have spent $300+ on accessories for a bare table. A Core kit with 24 panels replaces the banner, the risers, and the backdrop in one flat-packing unit. Sets up in under 30 minutes. No tools. Fits in your carry-on at 56x36x23cm. Browse the full kit range to compare sizes. It Scales Without Starting Over Here is where modular beats everything else. You buy a banner, it is that banner forever. You buy panels, you rearrange them for every event. Corner booth? Wrap it around. Half table? Use fewer panels. Double booth next year? Add more. The display grows with your business instead of getting thrown in a closet when you level up. Frequently Asked Questions Do I need to add my own lighting?Not usually. The frosted panels catch overhead convention lighting naturally. Some artists add a small USB light strip along the top for evening events, but it is optional. How heavy is this compared to a banner stand?The whole kit packs flat. Each panel weighs almost nothing. A Core setup for a standard 6ft table fits in a carry-on bag. Compare that to lugging a retractable banner stand plus a separate riser box.

Designing A Booth That Photographs On-Brand

Every artist at a convention is also a content creator whether they planned for it or not. Customers photograph your booth. Other vendors photograph your booth. Event photographers sweep through and post galleries the next day. If your setup does not photograph well, you are losing free marketing every single weekend. Designing a booth that photographs on-brand is not vanity. It is strategy. Control Your Background Phone cameras flatten everything. That means whatever is behind your products becomes part of the image. A messy backdrop, visible storage boxes, or the vendor next door leaking into frame all dilute your brand in photos. Build a backdrop that fills the camera frame. A modular display kit stacks five panels high (175cm), which is tall enough to block most background clutter in a table-level photo. Choose a panel colour that contrasts with your art so the products pop instead of blending into the wall behind them. Design For The Phone Camera, Not The Human Eye Your booth looks great in person at a 160-degree viewing angle with depth perception and ambient lighting cues. A phone camera sees a flat rectangle. Design for that flat rectangle. Keep your hero products at centre frame height (roughly table level plus 30-40cm) Group similar items so the photo reads as "collections" rather than "random pile" Make sure your brand name or logo is visible from the most common photo angle (straight on, slightly above) Avoid shiny or reflective surfaces that blow out under flash Frosted panels solve the flash problem naturally. The matte finish diffuses light instead of bouncing it back as a white blob. Your art stays visible even in harsh overhead convention lighting. The Instagram Grid Test Take nine photos of your booth from different angles before an event. Arrange them in a 3x3 grid. Does your brand come through in every single one? Can someone who has never visited your booth tell what you sell and what your vibe is from those nine squares? If yes, your booth photographs on-brand. If some shots look great and others look like a garage sale, you have dead angles. Fix them before doors open. Browse the full kit range to find a display colour and configuration that reads clean from every direction. The modular system lets you adjust panel placement between events so you can kill dead angles without buying new hardware. Lighting Makes Or Breaks The Shot Convention lighting is usually fluorescent, overhead, and unflattering. Bring your own. Two small clip-on LED lights aimed at your hero display area will make your booth photograph dramatically better than the ambient ceiling wash. Warm white (3000K) makes skin tones and warm art look rich. Cool white (5000K) makes graphic and cool-toned work look crisp. Pick the one that matches your palette and stick with it. Frequently Asked Questions Should I set up my booth specifically for photos? You should set up your booth for customers first, but design it knowing it will be photographed. The two goals are not in conflict. A booth that looks clean and intentional in person also photographs well. What is the best angle for photographing my own booth? Straight on from customer height (about 150cm), centred on your hero display. This is the angle most customers and event photographers use naturally, so designing for this angle gives you the most consistent results.

The Booths That Go Viral At Cons (And Why)

You have scrolled past them. That one booth photo on Instagram with 4,000 likes while everyone else sits at 80. The table that has a line forming before the doors even open. What is going on there? It is not the art. Well, it is partly the art. But PLENTY of talented artists get walked right past because their setup blends into the sea of tables. The booths that go viral share a few traits that have nothing to do with drawing skill. They Create A Wall, Not A Table The single biggest difference between a forgettable table and a viral booth is vertical presence. Most artists lay everything flat. Prints in a box. Stickers in a pile. The customer has to stop, lean over, and dig. Nobody does that when there are 400 other tables calling for attention. Viral booths build UP. They create a backdrop that reads from 20 feet away. A modular display kit stacks 5 panels high to 175cm, which is roughly eye level for most adults. That means your art is a wall of colour, not a pile of paper. They Have One Clear Colour Story This one surprises people. The booths that photograph well almost always have a tight colour palette. Not because the art is limited, but because the DISPLAY is coordinated. Pick two or three colours for your panels, shelving, and tablecloth. Let the art be the pop of variety. With 19+ panel colours available, you can match your brand without everything looking like a crayon box. They Make The Photo Spot Obvious Viral booths get shared because people photograph them. And people photograph them because the booth basically screams "stand here." A tall, clean backdrop behind a well-lit table is a photo op waiting to happen. Some artists even leave a gap in the display specifically for customers to pose. You do not need a ring light or a neon sign. You need a surface that looks good on a phone screen. Frosted panels with art clipped to them catch overhead convention lighting and glow. That glow reads as professional, and professional reads as worth photographing. They Pack Smart Here is the part nobody posts about. Viral booth artists do 10 to 15 cons a year. They would not survive if setup took two hours and their display needed a van. The booths you see going viral are almost always modular, flat-packing, carry-on friendly setups that go from bag to built in under 30 minutes. No tools. No panic. Check the full kit range to see what fits your table size. Frequently Asked Questions Do I need a huge budget to build a viral-worthy booth?No. A Core kit with 24 panels fits a standard 6ft table and costs less than two convention registrations. The return on one good con season pays for it many times over. What if my con only gives me a small table?A standard 180cm table is the most common assignment, and 24 panels is built for exactly that. You go vertical, not wide. Can I bring this setup on a plane?Yes. Everything packs flat into a 56x36x23cm bag. That is carry-on size on most airlines. Ships from Sydney to 50+ countries in 1 to 3 days if you need it before your next event.

Building A Display Rotation For Vendors Who Do Markets Every Weekend

When you do markets every weekend, your display takes a beating. It also gets boring. Same layout, same arrangement, same backdrop your regulars have seen four Saturdays in a row. A display rotation fixes both problems, and it is EASIER to set up than you think.Here are seven ways to build a rotation system that keeps your booth fresh without buying a new display every month.1. Start With A Modular BaseA modular panel system is the foundation of any good rotation. With 35x35cm click-together panels, you can rearrange your entire layout in minutes. Add a shelf here, remove a tier there, shift from an L-shape to a straight wall. Same kit, different booth every week. With the any-angle panels in the Angled kits, one of those weeks can be a roofed stall and the next an awning over a straight wall.The modular display kit ranges from 24 panels (Core) up to 92 panels (Shapeshift Duo), so you can scale to whatever your table space demands.2. Rotate Your Colour PanelsWith 19+ colours available, you can swap panel colours between shows. Run your brand colour one weekend, try a neutral the next, then go bold for a holiday market. Each swap takes seconds since the panels just click in and out of the same connectors.3. Alternate Your Layout ShapeDo not build the same shape every time. One week, go with a flat back wall. Next week, build an L-shape that wraps around the corner of your table. The week after, try a stepped display where each tier is offset. Same panels, COMPLETELY different vibe.4. Swap Your Hero Product PositionYour bestseller should not live in the same spot forever. Move it to eye level one week, table level the next. Put it centre, then move it to the edge where foot traffic catches it first. Track which position gets the most sales and keep that data.5. Seasonal Accent PiecesKeep a small box of seasonal props that rotate in and out. A few dried flowers for spring markets. Fairy lights for winter evening events. A simple fabric runner that changes with the season. These take thirty seconds to add and make your booth feel intentional.6. Build Two Configurations And AlternateDesign two complete booth layouts on paper. Call them Setup A and Setup B. Alternate every weekend. This forces variety without decision fatigue at 6am on a Saturday morning. You already know exactly what goes where because you planned it on Tuesday.7. Track What WorksTake a photo of your booth at every market. Note your sales total. After a month, you will have four data points showing which layout and colour combination performs best. Let the NUMBERS tell you what your regulars respond to, not your gut feeling alone.A rotation system keeps your booth from going stale, protects your display from wear by distributing stress across different configurations, and gives you real data about what sells. Check out the full kit range to pick a modular base that makes weekly rotations painless.

The Truth About Renting A Van vs Flying With Your Booth

This debate comes up in every vendor group. Drive or fly? Rent a van or check a bag? We've heard from hundreds of vendors on both sides. Here are the real questions and honest answers. Is It Cheaper To Drive? Depends on the distance. Under 3 hours each way, driving usually wins. You skip baggage fees, you can bring unlimited stock, and you don't worry about size limits. Over 3 hours, the maths flips. Fuel, tolls, parking, and the TIME cost of driving 6+ hours round trip add up fast. A vendor doing a 5-hour drive is spending a full extra day on travel. That's a day you're not making art or processing orders. What About Renting A Van? A van rental runs $80-150/day depending on your city. For a weekend show that's $240-450 before fuel. If your booth fits in a carry-on, a return flight on a budget carrier is often cheaper. Your modular display kit fits carry-on dimensions at 56x36x23cm. No checked bag, no oversized fees, no van. What If I Have A LOT Of Product? This is where the van argument gets REAL. If you sell large canvas prints, ceramics, or heavy merchandise, flying is tough. But if you sell prints, stickers, pins, charms, or small goods, a single checked bag handles your inventory. The booth itself goes carry-on. Two bags total. Don't I Risk Damage When Flying? With a metal pipe-and-drape setup? Yes. Those bend, dent, and arrive looking like they went through a war. With flat polypropylene panels? No. They're lightweight, rigid, and pack flush against each other. Nothing to bend. Nothing to break. What About Interstate Shows I'd Never Drive To? This is the question that matters most. A flight-friendly booth doesn't just save money on shows you already attend. It unlocks shows you'd never consider if driving was the only option. Perth, Hobart, Auckland. Suddenly they're on the table. So What's The Verdict? If your show is local (under 2 hours), drive. If it's interstate or requires a full day of driving, fly with a carry-on booth. If you need a van specifically for product volume, the booth isn't your problem. Your product packaging strategy is. Check the full kit range and do the maths for your next interstate show.

The Small Vendor's Guide To Looking Professional On Any Budget

You make incredible stuff. Your products are legit. But your booth looks like a garage sale and you know it. Here is the thing: looking professional does not require a professional budget. It requires knowing where to spend and where to skip.These are the moves that actually matter, ranked by impact per dollar.1. Get VerticalThe single biggest upgrade any small vendor can make is going from flat table to vertical display. When your products sit flat, customers have to lean over and look down. When your products are at eye level on a wall or shelf, they STOP walking. They engage.A modular display kit stacks 5 panels high (175cm), turning a basic table into a proper product wall. The Core kit starts at 24 panels and fits right behind a standard 6ft table.2. Pick One Colour and CommitMismatched displays scream amateur hour. A black tablecloth with a white backdrop and random coloured bins? No. Pick one colour for your display system and let your products be the colour. With 19+ panel colours available, you can match your brand exactly.3. Use Shelving, Not StackingProducts stacked on top of each other look cheap. Products on individual shelves look curated. Modular display shelves hold 5kg each and slot right into the panel wall. No extra hardware. Each product gets its own MOMENT.4. Hide Your StuffExtra stock, bags, your lunch, your phone charger. All of it needs to be invisible. A panel wall does double duty here. The front faces customers, the back hides your mess. This alone makes vendors look twice as professional.5. Invest In Setup SpeedNothing looks less professional than still assembling your booth when customers arrive. If your display takes more than 30 minutes, it is too complicated. The modular panel system snaps together by hand with no tools. You look ready because you ARE ready.6. Ditch the Paper SignsHandwritten price tags and printed A4 signs taped to things are the fastest way to look like you do not take your own work seriously. Use a label maker, printed cards, or small frames. This costs almost nothing but the perceived value jumps enormously.7. Light It (Even Outdoors)Clip-on LED lights aimed at your products create focus. Even at an outdoor daytime market, a little extra light on your key pieces makes them pop against the shaded backdrop of your display panels.8. Keep Your Table Half EmptyCounterintuitive but true. A crowded table looks like a clearance rack. A table with breathing room looks like a boutique. Put your best three to five pieces front and centre. Everything else goes on the shelves or behind the wall.9. Stand UpSeriously. Vendors sitting behind their table with their phone out look like they do not want to be there. Stand. Make eye contact. Your display does the visual work. You do the HUMAN work.10. Start Modular, Grow ModularThe smartest budget move is buying a system you can grow with. Start with a Core (24 panels). When business picks up, add a Shapeshift (46 panels) or go full Shapeshift Duo (92 panels). Same connectors, same colours, no waste. Check the full kit range to see what fits your current stage.Professional is not about spending the most. It is about spending smart and showing up like you mean it.

What Changes The Moment Vending Becomes Your Main Income

Weekend hobby and full-time income look identical from the outside. Same table. Same products. Same smile. But the moment vending becomes your MAIN income, everything underneath shifts.Here is what actually changes when your booth stops being a side hustle and starts paying your rent.You Start Thinking in Margins, Not SalesHobby vendors celebrate gross sales. Full-time vendors obsess over what they keep. Table fees, travel, materials, food, parking. That $2,000 weekend sounds great until you subtract $800 in costs.Track every dollar out. Not monthly. Per show. You need to know your real profit per event so you can cut the ones that look busy but barely break even.Your Display Becomes InfrastructureWhen vending is a hobby, a wobbly grid wall is fine. When it is your income, a display that takes 90 minutes to set up is costing you money every single show.Full-time vendors treat their setup like a tool. It needs to go up fast, look professional, and survive being packed 40+ times a year. A modular display kit that sets up in under 30 minutes and packs into a carry-on sized case is the difference between arriving stressed and arriving READY.Inventory Planning Gets SeriousYou cannot run out of your bestseller at a show anymore. That used to mean a shrug. Now it means lost income you needed for rent.Full-time vendors build reorder points, track sell-through rates, and bring backup stock. They also cut products that do not sell. Sentimentality about a design that took 40 hours but moves one unit per year is a luxury you lose.You Learn to Say NoNot every show deserves your time. A free community market with 200 attendees might have been fun on a Saturday. When you are full-time, that same Saturday could generate ten times more at a well-attended con.Saying no to the wrong shows is how you say yes to the right ones. Your time has a real cost now.Rest Becomes a StrategyBurnout is not dramatic. It is quiet. You stop making new work. You dread packing. You phone it in at setup. Full-time vendors who last more than two years schedule rest like they schedule shows. It is not optional.How do I know if I am ready to go full-time?If your vending income has consistently covered your expenses for six months and you have a three-month buffer saved, you have a real foundation. If you are hoping one big show will make it work, you are not there yet.What is the biggest surprise about full-time vending?The admin. Taxes, inventory tracking, application deadlines, shipping logistics. The creative work is maybe 30% of your week. The rest is running a small business.Do I need a different display when I go full-time?Almost certainly. Weekend setups tolerate clunky, heavy, slow-to-build displays. Full-time setups need to be fast, portable, and durable enough to survive constant use. Check out the full kit range to see what career vendors are using.

Building A Display That Works At Markets And Conventions

We talk to vendors every week who do both markets and conventions. The complaint is always the same. Their market setup looks weird at conventions. Their convention booth is overkill at markets. They end up owning two displays or settling for one that half-works at both.That is a solvable problem.Markets and conventions have different energy. Markets are casual, tight on space, and outdoor-friendly. Conventions are indoor, more structured, and the booths around you are trying harder. But the CORE of what makes a display work is identical in both settings. Clean lines. Visible products. Height that draws the eye.We designed our modular display kit around this exact tension. The panels are 35x35cm frosted squares that click together with ABS connectors. You can build a compact 24-panel setup for a tight market table or go full 92-panel backdrop for a convention corner booth. Same system. Same panels. Different configuration. The Angled kits add one more piece, the any-angle panel, which swings both ways and sets at any angle, so either configuration can have an awning, a roof or an arch.The setup time stays under 30 minutes either way. No tools, no hardware, no separate parts bins for "the market version" and "the convention version." You just build what the space needs.We have watched vendors run the same kit at Saturday morning craft markets and Monday trade shows without changing a single panel. The frosted finish reads as premium in both settings. The 19+ colour options mean your brand stays consistent whether you are under a pop-up tent or fluorescent convention centre lighting.The real win is packing. Everything fits into one carry-on sized case (56x36x23cm). We have had vendors fly interstate to conventions with their display in the overhead bin, then drive to a local market the following weekend with the same kit in their boot.One display. Every event. That is what ACTUALLY versatile looks like.Browse the full kit range to find the size that covers your mix of events.

Building A Sustainable Full-Time Vendor Career

Going Full-Time Is a Systems Problem Quitting your day job to vend full-time sounds romantic. Wake up, make art, sell it at cons, repeat. The reality? It is a logistics and systems problem. The artists who make it work are the ones who build repeatable processes around EVERYTHING. Stock management. Display setup. Pricing. Travel routing. Payment processing. When each of those runs on autopilot, you free up brainpower for the creative work that actually drives sales. Revenue Needs Multiple Streams Relying on one big con per month is a gamble. Weather kills foot traffic. Organizers botch marketing. Your table placement lands in a dead zone. One bad weekend wrecks your month. Sustainable vendors diversify. Weekly markets, monthly cons, online sales between events, and wholesale accounts to retailers. Each stream is small on its own, but together they create a BASELINE you can count on. Your display setup should support all of those contexts. A modular display kit that reconfigures for a 6ft convention table and then packs down for a farmers market stall means one investment covers every revenue stream. Track Your Numbers Like a Business Owner You need to know three numbers cold: cost per event, average revenue per event, and your break-even point. Everything else is vanity. Cost per event includes table fees, travel, accommodation, food, display wear, and your time. If you are spending 12 hours at a con (setup, selling, packdown) and netting $400, that is $33 an hour before materials. Is that sustainable for you? Only the numbers can answer that. Track every event in a spreadsheet. After six months you will see patterns. Which cons are worth repeating. Which product lines sell. Which CITIES pull the best crowds. Data beats gut feeling every time. Your Setup Is Your Storefront Full-time means your booth is your shop. It needs to look like one. Professional, clean, intentional. That does not mean expensive. It means considered. Vertical displays that build five panels high put your work at eye level. Shelving holds product without cluttering the table. A consistent colour palette across your panels ties the whole thing together. When someone walks past, they should instantly get what you sell and why it is worth their time. Burnout Is the Real Enemy The vendors who quit full-time rarely quit because of money. They quit because they are exhausted. Loading, driving, setting up, standing all day, packing down, driving home. Every weekend. For months. A setup that takes under 30 minutes to build and packs into a single carry-on case is not a luxury. It is burnout prevention. Same goes for self-serve layouts that let customers browse without you hovering over every interaction. You NEED downtime, even at your own booth. Frequently Asked Questions How many cons per month do full-time vendors typically do? Most sustainable full-timers do 2 to 4 events per month, mixing large cons with smaller local markets. The key is quality over quantity. One great con beats three mediocre ones. What is the biggest mistake new full-time vendors make? Underpricing. When vending is your income, your prices need to cover materials, time, overhead, and profit. Price for the career you want, not the hobby you had. Do I need a different display for different types of events? Not if your display is modular. A system with interlocking panels lets you build big for conventions and go minimal for market stalls. One kit, multiple layouts. Browse the full kit range to find the right size for your setup.

Why It Just Looks Like Me Is The Best Compliment A Booth Can Get

We've been to a lot of conventions. Talked to a lot of artists. And the comment that lights people up more than any compliment about their art, their prices, or their sales numbers is this one: "It just looks like you." That's it. Five words. And they mean everything. Because they mean someone walked up to your table and the SPACE felt like a person, not a product display. The colours, the layout, the energy of the whole setup matched the human behind it. We've seen artists spend weeks agonising over the "right" booth aesthetic. Watching YouTube videos about colour theory. Studying what top sellers do. Copying layouts from Pinterest. And that research isn't wasted. But the booths that get the "it looks like you" comment? They're rarely the ones that followed a formula. They're the ones where the artist stopped trying to look professional and started trying to look like themselves. That might mean coral panels because you love coral. Navy because your art is dark and moody and so are you. A messy, overflowing table because your brand is maximalist chaos and your customers love that about you. A modular display kit in lilac because your entire online presence is built around that colour and your followers expect it. The goal isn't a booth that looks like a trade show. The goal is a booth that a repeat customer could identify from 50 metres away without reading your banner. That's brand. That's recognition. That's the thing that turns a casual browser into someone who follows you, remembers you, and comes back next con specifically looking for your table. So stop asking "what looks professional" and start asking "what looks like me." Check the full kit range for the colour that makes you feel something. Then build around that feeling. The compliments will follow.

What matters more for your booth?

The shape: roofs, awnings and angles

Any-angle panels for roofs, awnings and shaped fronts

The colour: the widest colour range

The most colours to pick from and to mix

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

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A floor-standing wall, no table needed

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A few years

Most artists land here

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Small prints, cards, pins & stickers

Flat, lightweight, easy to pin

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A2 and up, needs room to breathe

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Heavier, bulkier pieces that need sturdy shelf framing

Jewellery, charms & keychains

Small and light, lots of little hooks

How tall do you want it?

Keep it low so my table and wall stay visible

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Build tall framing for maximum impact

A towering wall that pulls eyes from across the hall

What shape do you want your booth to be?

Classic cube shelves

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Any-angle panels set at any angle for roofs, corners and U fronts

Which colours catch your eye?

Amber Yellow

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Blue Sky

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Shapeshift Kit 46 Multi-Shape Panel and Accessory Kit Add-on

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

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Scarlet Red Frosted

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

$36.00

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

$90.00

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

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

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Foot Connector Expansion Pack [4 Pcs] Add-on

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

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

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

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

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

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