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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How Repeat Customers Spot Your Table From Memory

Repeat customers are the backbone of a sustainable art business. They spend more, they buy faster, and they tell their friends where to find you. But they can only do that if they can actually FIND you at the next event. Here's how the best vendors make their booth a landmark that returning fans locate from pure memory. They build a consistent silhouette. Your booth's outline is the first thing returning customers scan for. A modular display kit standing 175cm tall creates a distinctive vertical profile that rises above the table-level baseline. When someone remembers "the tall booth with the coloured panels," they're remembering your silhouette. Keep it the same at every event. They own a colour. Pick one signature panel colour and make it yours. Not a whole rainbow. One strong colour that people associate with your brand. "The booth with the navy walls" or "the one with the mint green panels." With 19+ panel colours available, you can find one nobody else in your circuit is using. They keep their name visible from far away. Repeat customers don't walk up to read your banner. They spot your name from across the hall. Your brand name or logo should be at the TOP of your display, readable from at least 10 metres. High contrast, large type, no clutter around it. They have a signature product always on display. Your bestseller should always be in the same spot in your booth. Returning customers look for it first. It's the anchor that confirms they're at the right table. Once they see that familiar piece, they relax and start browsing for what's new. They greet returners by memory. This isn't a display tip, but it locks in loyalty hard. "Hey, you grabbed the fox print last time, right?" That recognition makes someone a customer for life. And it's easier to remember faces when your setup routine is so consistent that you can focus on people instead of logistics. A kit that goes up in under 30 minutes gives you that breathing room. They use the same table position strategy. Many regular vendors request the same area of the hall at recurring events. If that's not possible, they at least orient their booth the same way. Display wall always facing the main walkway. Product always flows left to right. Returners navigate by spatial memory, and consistency helps them find you faster. They make their setup look permanent. Clean modular panels, ABS connectors, uniform presentation. It looks like a shop that belongs there, not something thrown together that morning. This permanence signals that you'll be at the next event too, which gives returning customers confidence that they can come back. They have a packing ritual that protects the brand. Everything fits in the same 56x36x23cm carry-on case. Panels stack flat. Connectors go in their bag. The setup is identical every time because the teardown is identical every time. No pieces lost, no improvisation needed, no setup looking "off" because a component went missing. They evolve without overhauling. New art gets added. Old pieces rotate out. Maybe a new product line appears. But the STRUCTURE stays the same. The panels, the height, the colour, the layout logic. Returning customers notice what's new because the familiar framework makes changes obvious. They think in seasons, not events. The best repeat-customer strategy isn't event-by-event. It's a year-long plan where each event builds recognition for the next. Same display kit, same brand colours, same silhouette. By event 4 or 5, your booth is a destination, not a discovery. Browse the full kit range and start building the booth people remember.

How To Rotate Stock On A Table With No Room To Spare

You have one table. Maybe six feet of space if you are lucky. And somehow you need to rotate through 40+ products over a weekend without looking like you are running a garage sale behind your booth. Sound familiar? Stock rotation is one of those things nobody talks about until you are elbow-deep in prints at 2pm, digging for the one design someone saw on Instagram. There is a better way. And it starts with thinking vertical. Go Up, Not Out The single biggest unlock for table vendors with too much stock is adding height. A modular display kit builds five panels high at 175cm, which means you can show 15-20 pieces in the same footprint as a flat table layout showing 6. Stack your best sellers at eye level. Put your secondary pieces lower or higher. Rotate the eye-level row every few hours. Customers walking past see a FRESH booth every time without you needing more table space. The Swap Box System Pack your stock in labelled boxes by category or theme. Keep them under the table or behind your display wall. Every 2-3 hours, swap one section out completely. This works especially well with panels because you can pre-hang pieces on spare panels and literally click them into place in under a minute. The trick is not trying to show everything at once. A curated selection that changes throughout the day outperforms a cluttered table every single time. Use Your Vertical Space as Overflow Storage The back of a display wall is dead space that most vendors ignore completely. Use it. Hang backup stock on the reverse side using PLA hooks rated to 5kg per shelf. When something sells out front, reach behind, swap it in. Your customers never see the mess. You never have to dig through boxes. Timing Your Rotations Do not rotate randomly. Watch the traffic patterns. Morning crowds at markets tend to browse differently than afternoon crowds. Swap your display at lunch when foot traffic dips. Use that quiet window to completely refresh your layout so the afternoon wave sees something new. If you are doing a two-day event, swap HEAVILY between day one and day two. Repeat visitors are your best customers and they need a reason to stop again. Check the full kit range to find a setup that gives you the vertical space to actually pull this off. Frequently Asked Questions How often should I rotate stock during a single day event? Every 2-3 hours is the sweet spot. More than that and you spend too much time fussing with your display instead of selling. Less than that and walk-by customers see the same booth all day. What is the fastest way to swap pieces on a modular display? Pre-hang your rotation stock on spare panels. When it is time to swap, unclip the old panel and click the new one in. The whole thing takes under 60 seconds with ABS connectors. Should I bring more stock than I can display at once? Absolutely. Bring 2-3x what you can show at any given moment. The rotation strategy only works if you have fresh stock to cycle in. Just make sure it is organised in swap-ready boxes, not loose in a duffel bag.

Bold Backdrops vs Bare Tables: The Real Difference In Foot Traffic

Let's settle this debate with some honesty. We've seen hundreds of vendor setups across conventions, markets, and pop-ups. And the difference between a booth with a proper backdrop and a bare table isn't subtle. It's dramatic. We're talking 2-3x more people stopping, and a measurable bump in average sale value. This isn't about shaming anyone who's starting out with just a table. Everyone begins somewhere. But if you're past your first few events and still running a flat setup, you're leaving real money on the floor. What A Bare Table Communicates Fair or not, a bare table sends a signal. It says temporary. It says casual. It says "I'm not sure how long I'll be doing this." Customers read these signals unconsciously. They're less likely to stop, less likely to browse slowly, and less likely to buy premium-priced items from a setup that looks impermanent. The art might be incredible. But the framing undermines it. Imagine walking into a gallery where paintings were leaned against the wall on the floor. Same art, completely different perceived value. Your booth is your gallery, and bare tables are the floor. What A Backdrop Changes A structured backdrop does three things immediately. First, it creates HEIGHT. A modular display kit builds to 175cm, which puts your work above the crowd line and makes your booth visible from across the hall. Bare tables sit at 75cm. That's a full metre of visibility you're giving up. Second, it creates CONTEXT. Art displayed on clean, uniform panels looks curated. It looks intentional. The frosted 35x35cm PP panels give your pieces a gallery-quality setting that elevates perceived value without you saying a word. Third, it creates territory. A vertical display defines your space. It tells passers-by "this is a booth, not just a table." That psychological boundary makes people more likely to step in and browse rather than glance and keep walking. The Investment Reality A proper display setup is a one-time investment that pays dividends at every event. The kit ships from Sydney (1-3 days domestic, 50+ countries international), packs into a carry-on sized case at 56x36x23cm, and sets up in under 30 minutes with no tools. ABS connectors and PLA hooks handle 5kg per shelf. Compare that to the cumulative cost of doing mediocre events with a bare table. If a proper backdrop helps you sell even 2-3 extra pieces per event, the kit pays for itself within a couple of shows. After that, every event is pure upside. The Middle Ground Myth Some vendors try to split the difference. A tablecloth and some wire racks. Maybe a small pegboard behind the table. This is better than bare, but it still reads as improvised. The visual impact of a clean, tall, modular wall is in a different category entirely. Half measures get half results. The Core kit at 24 panels is enough to create a solid backdrop on a standard 180cm table. The Shapeshift (46 panels) builds a more substantial presence. And if you're doing larger shows, the Shapeshift Duo or Angled Duo (92 panels each) gives you the kind of setup that anchors a corner and draws traffic from multiple aisles. Check the full kit range to find your fit. Frequently Asked Questions Can I use a backdrop at events with limited table space?Yes. The modular system fits a standard 180cm/6ft table. You build upward, not outward, so you're using the same table footprint as everyone else. You're just using the vertical space that bare-table vendors ignore. Is a backdrop worth it for small local markets?Absolutely. Small markets often have the LEAST visual competition, which means a proper display makes you stand out even more. You're probably one of the only vendors with a vertical presence, and that draws disproportionate attention. How durable is the setup for regular event use?The panels are frosted polypropylene and the connectors are ABS plastic. These materials handle regular assembly and disassembly without wearing out. Over 1000 artists use them regularly with a 4.9-star review average. Built to last.

What Fits On A Card Table At A Weekend Market

Card tables are everywhere at weekend markets, church fairs, and community pop-ups. They are small (usually 75x75cm or 90x60cm), wobbly, and not designed for retail. But they are what you get. Here is how to make it work. Can I Actually Run A Booth From A Card Table? Yes. People do it every weekend and make solid money. The table is not the problem. What you PUT on the table is the problem. A card table gives you roughly half a square metre of surface. If you try to lay everything flat, you will have room for about six prints and nothing else. The solution is the same as any small-space situation: build upward. A modular display kit sits behind the table and gives you a vertical display wall. The table stays clear for transactions and impulse buys. Will A Display Stand Even Fit Behind A Card Table? A Core kit (24 panels) builds a display wall that fits behind even the smallest card table. The 35x35cm panels are light (the whole kit weighs about 5kg with connectors) and freestanding. You do not need to clamp anything to the table itself. What Should Go On The Table vs. On The Wall? Table: payment terminal, business cards, one small bin of impulse items (stickers, pins, mini prints). THAT IS IT. Everything else goes on the wall. Prints, larger artwork, product info. The wall is your shop floor. The table is your checkout counter. How Do I Handle Wind At Outdoor Markets? Card table markets are often outdoors, which means wind. Clip your prints to the panels instead of just leaning them. Use binder clips or the PLA hooks (rated to 5kg each) that come with the kit. Weight the base of your display with your carry case or a bag. Frosted PP panels have some wind resistance, so keep the wall behind the table where your body blocks the worst gusts. What If The Organisers Only Provide The Table And Nothing Else? That is the normal situation at weekend markets. Bring everything: your display, your tablecloth, your lighting, your signage. The display kit packs into a 56x36x23cm carry-on case. A tablecloth rolls up. Two clip-on lights fit in a backpack pocket. You can carry your ENTIRE booth setup in one trip from the car. Is It Worth Investing In A Display For Small Markets? Small markets are where you build your skills and your customer base. Looking professional there matters because repeat customers at small markets become your foundation. A proper display at a card-table market signals that you take your work seriously, even in a casual setting. The kit sets up in under 30 minutes, works with 19+ colours, and ships from Sydney in 1-3 days. Rated 4.9 stars from 1000+ reviews. Check the full kit range and pick one that fits your weekend market reality.

What Makes A Booth Instagrammable (And Why That Matters)

Every convention has a handful of booths that show up on Instagram again and again. Attendees photograph them, tag them, share stories from them. And those vendors get free marketing that keeps working long after the event ends. This isn't luck. Instagrammable booths are designed, not discovered. The real value isn't vanity metrics. When someone posts your booth to their story, every one of their followers sees your brand. Some of those followers are at the same convention and haven't visited you yet. Some will look you up online later. That single photo does more work than any flyer you could hand out. Clean Backgrounds Win The Photo The number one reason booths photograph well is a clean, consistent backdrop. Frosted panels from a modular display kit give you exactly this. No visual clutter behind your art. No wrinkled fabric. No mismatched surfaces. Just clean 35x35cm panels in a uniform colour that lets your work be the subject of every photo. Phone cameras are ruthless with busy backgrounds. All that detail your eye filters out in person becomes distracting noise in a photo. The cleaner your backdrop, the better your booth photographs, and the more likely someone is to actually post it. Height Creates A Photo-Worthy Moment Flat tables don't photograph well because there's no visual drama. A display wall standing 175cm tall with curated work arranged across five panel rows creates genuine visual impact. It looks like a pop-up gallery, not a folding table. People photograph things that look INTENTIONAL. Position your most photogenic pieces at phone-camera height. That's roughly 120-150cm off the ground, which falls perfectly in the middle rows of a stacked display. When someone holds up their phone to snap a photo, your best work should be right in frame without them having to crouch or reach. Colour Coordination Makes The Grid Instagram is a visual platform and people curate their grids. A booth with strong colour coordination is more likely to get posted because it fits the aesthetic that people want on their feed. Pick your 2-3 brand colours and make them obvious. Panel colour, tablecloth, packaging, signage. With 19+ colours available, you can build a booth that looks like a designed space rather than a random setup. Bonus: when multiple people photograph your booth across different events, the consistent colour scheme means those photos all look like they belong together. Your brand becomes recognisable even in other people's feeds. Create A Photo Spot The most shared booths often have a specific moment designed for photos. A clean section of your display with your brand name visible, good lighting, and enough space for someone to stand next to it. Think of it as a selfie-friendly zone. Some artists put a small sign saying "tag us @handle" near this spot. It works surprisingly well. The structure helps here. A Shapeshift (46 panels) or larger gives you enough surface area to dedicate a section purely to the photo moment while still having plenty of display space for your actual inventory. Browse the full kit range and think about which size lets you build that photo-worthy setup. Frequently Asked Questions Do I need professional lighting for Instagram-worthy booth photos?Not necessarily. Clean panel backgrounds and consistent colours do most of the heavy lifting. But a small clip-on LED aimed at your display wall makes a noticeable difference in how your booth photographs under harsh convention lighting. What's the best panel colour for photographing art?It depends on your art style. Lighter panels work well for bold, colourful work. Darker panels suit lighter or pastel pieces by providing contrast. The frosted finish on all panels reduces glare, which is a huge help for phone cameras. Should I ask people to photograph my booth?Don't ask strangers to photograph it. Instead, make it so good-looking that they want to. A small tasteful sign with your social handle near the most photogenic section of your display is enough of a prompt without being pushy.

Why Weight Matters More Than Size When You're Flying

Everyone obsesses over carry-on dimensions. Will it fit? Is it 55cm or 56cm? Does the handle count? Meanwhile, the thing that ACTUALLY gets your bag pulled at the gate is weight. Most budget airlines cap carry-on at 7kg. Some full-service carriers give you 10kg. Either way, that's your entire allowance for everything in your overhead bag: display, stock samples, tech gear, and whatever snacks are getting you through the convention. A metal gridwall display weighs 8-12kg on its own. That's your entire carry-on weight limit before you've put a single print in the bag. You're either checking it (extra fees, damage risk, carousel roulette) or you're leaving it at home and buying something disposable at the destination. The modular display kit uses frosted polypropylene panels and ABS connectors. Those materials were chosen because they're strong and light. The weight difference compared to metal or wood leaves room in your carry-on for the things that actually make you money: product samples, your payment setup, and the tools of your trade. Size matters for fitting through the overhead bin door. Weight matters for EVERYTHING else: your arms carrying it through the airport, your back lifting it into the bin, the scale at the gate, and the total load you're managing when you're one person navigating a foreign airport with a convention to get to. Next time you're shopping for a display, weigh it. Not the shipping weight. The packed-and-ready-to-carry weight. Then subtract that from your airline's carry-on limit. Whatever's left is your actual usable allowance. If the number is zero or negative, that display isn't a travel display. It's a drive-to-the-show display pretending to be portable. Check the full kit range and compare. The numbers speak for themselves.

Packing A Big Booth Down Into A Small Car

We get this question CONSTANTLY. "I want a proper booth setup but I drive a hatchback." Or a sedan. Or they ride the train. Or they are flying interstate for a convention. And every time, the assumption is the same: a big booth means big gear. It does not have to. We have seen vendors show up to major conventions with a full 175cm display wall, a complete product catalogue on the panels, and everything they carried fit in one piece of luggage and a backpack. The trick is building your setup from flat components instead of rigid structures. A modular display kit with 35x35cm frosted PP panels and ABS connectors disassembles into a stack. The whole thing packs into a 56x36x23cm case. That is carry-on luggage size. Compare that to a pop-up tent frame, metal grid walls, or a PVC pipe rig. Those do not fold. They barely fit in an SUV. Flying with them is out of the question. We have watched the shift happen over the past few years. Vendors who used to drive vans are now catching flights to events because their display gear became portable. That opened up conventions they never would have considered before. The Shapeshift (46 panels) builds a serious display wall and still packs flat. Even the full Shapeshift Duo (92 panels) fits in checked luggage. Sets up in under 30 minutes at the venue with no tools. 19+ colours. Ships from Sydney in 1-3 days to 50+ countries. 4.9 stars from 1000+ reviews. If your car is the bottleneck, it is not a car problem. It is a gear problem. Fix the gear. Browse the full kit range.

How To Know You're Ready To Go Full-Time At Conventions

There is a moment every part-time vendor hits. You are standing behind your table on a Sunday afternoon, mentally calculating whether you made enough this weekend to cover next month's table fees, and a thought lands: could I do this full-time? Maybe. Here is how to figure it out before you quit your day job. You Have Consistent Sales Across Multiple Events One killer weekend does not make a career. You need a track record. If you have done 10 or more events and you can predict your revenue within a reasonable range, that is signal. If every con is a coin flip, you are not ready YET. Look at your last six events. Average out the revenue. Subtract all costs: table fees, travel, food, materials, display maintenance. What is left? If that number, multiplied by four events per month, covers your bills with a margin for bad weekends, you are in the conversation. You Have Product-Market Fit Your bestsellers should be obvious by now. You know which three products carry your table. You know which price point moves fastest. You know which items people pick up but put back. Full-time vendors lean hard into what works. They do not carry 50 different products hoping something sticks. They carry 10 to 15 proven sellers and ROTATE seasonal items around that core. If you cannot name your top five products by heart, spend more time as a part-timer collecting that data. Your Setup Does Not Exhaust You This is the one nobody talks about. If your current display takes an hour to build, requires a vehicle to transport, and leaves you sore before the doors open, doing that every weekend will break you inside a month. Full-time means your setup is a tool, not a project. Under 30 minutes to build. Packs into something one person can carry. Reconfigures for different table sizes without buying new gear. A modular display kit that meets those specs turns setup day from a chore into a non-event. You Have a Financial Runway Do not go full-time with zero savings. You need at least three months of expenses set aside because the first few months will be uneven. Cons get cancelled. Stock runs out. A rainy weekend tanks foot traffic. Your savings are what keep you from panicking and QUITTING after one bad stretch. You Actually Want the Lifestyle Full-time vending is weekends working while your friends are off. It is driving to a new city, setting up in a parking lot at 6am, standing for eight hours, and driving home. It is inventory management and tax tracking and social media promotion on top of making your actual art. Some people thrive on that. Others burn out inside six months. Be honest about which one you are. There is zero shame in staying part-time and keeping vending as the fun part of your week. But if you read all of that and felt excited instead of tired? Yeah. You might be ready.

Escaping The Just Another Table Trap

Picture this. You've been prepping for weeks. Your prints are perfect. Your prices are fair. You've got change, bags, business cards, the works. You arrive at the convention, set up your table, lay everything out neatly, and then you look left. And right. And you realise your booth looks exactly like everyone else's. Flat table. Art laid out horizontally or leaned against whatever propping solution you grabbed last minute. Maybe a small wire rack. A printed banner draped over the front of the table. You've fallen into the Just Another Table trap, and it's the most common mistake in artist alley. It happened to a ceramicist we know. She'd been doing markets for two years with decent work and okay sales. Nothing terrible, nothing great. Her setup was a tablecloth, some risers, and her pieces arranged in rows. Clean, tidy, totally forgettable. One weekend she watched a neighbouring vendor with a vertical display absolutely crush it. Same quality work. Wildly different results. The difference wasn't talent. It was architecture. That vendor had built upward. Their display was 175cm tall, five panels high, creating a wall of curated work that people could see from three aisles away. They were using a modular display kit with frosted panels that gave their art a gallery-quality backdrop. No DIY wobble. No zip ties and prayers. And these days no need to stop at right angles either: the any-angle panel in the Angled kits swings both ways and sets at any angle, so that wall can end in a roof, an awning or an arch. The ceramicist tried something similar the NEXT event. She invested in a proper display structure and arranged her pieces at varying heights across the vertical space. Shelves held by ABS connectors that could take 5kg each. Her work went from lying on a table to floating at eye level against clean panels. Her sales doubled. Not because her ceramics got better overnight. They were always good. But now people could actually see them. The height caught attention from across the hall. The vertical layout made each piece feel intentional, like a gallery showing rather than a garage sale. The Just Another Table trap isn't about budget. It's about thinking your art will do all the work on its own. It won't. The display is the first impression. The art is the second. And if the first impression says "flat table, same as the last 30 booths you walked past," there won't be a second impression. Here's what escaping the trap actually looks like in practice. You build UP, not out. You create a silhouette that's distinct from the table-level baseline. You use consistent panels (35x35cm, modular, in your brand colours) so the whole thing reads as a unified piece of design rather than a collection of stuff on a surface. The kit packs flat into a carry-on sized case (56x36x23cm). Sets up in under 30 minutes with no tools. Ships from Sydney to 50+ countries. Over 1000 artists have figured this out already, with a 4.9-star average to show for it. The ceramicist is still doing markets. She hasn't looked back at the flat table setup once. And she's never been "just another table" again. Check the full kit range from Core (24 panels) all the way up to the Shapeshift Duo (92 panels) and find the one that gets you out of the trap.

The Booth Rebrand That Changed One Vendor's Whole Table

Jay had been tabling for three years. Same setup every time. Black tablecloth. A printed banner zip-tied to a PVC pipe frame. Products spread across the table in whatever order he packed them. It worked. He made money. But his table looked exactly like it did at his first con. And his sales had plateaued. "I kept thinking the answer was more products," he told us. "More designs, more variety, more stuff on the table. But I was adding to a setup that didn't have a foundation." The Breaking Point The breaking point came at a summer convention where Jay was placed between two artists with clean, colour-coordinated booths. One had a full white panel wall with botanical prints hung in a perfect grid. The other had a navy display with gold accents and moody fantasy art. Jay's table, wedged between them, looked like a flea market stall. "I took a photo of my table from the aisle. Just to see what customers saw. And I was embarrassed. Not by my art. By the context I'd put it in." The Rebuild Jay didn't just buy a new display. He rethought everything. He started with a Shapeshift kit (46 panels) in charcoal from the modular display kit line. Built a U-shaped booth with walls on three sides. Then he did something most artists skip entirely. He took all his products off the table and put them back one at a time. Only things that looked right against the charcoal wall went back on display. Half his product line didn't make the cut. Not because it was bad. Because it didn't fit the new visual story. "I cut my table from 15 product types to 7. And I made more money at the next con than I'd made in the previous three combined." What Changed Three things, according to Jay: People stopped walking past. The charcoal wall was a visual anchor in a sea of white tablecloths. It pulled eyes from the aisle Customers browsed longer. The reduced product range meant less decision fatigue. People could process what was available without getting overwhelmed His prices felt justified. "The same print that felt like a $15 item on my old setup felt like a $25 item in front of a proper display wall. Context changes perceived value" The Lesson Jay's rebrand wasn't really about the panels. It was about deciding what his table was FOR. Not a container for everything he makes. A curated space that presents his best work in a way that matches the quality of the art itself. He's since upgraded to a full Shapeshift Duo from the full kit range and tables about 12 cons a year. His setup takes under 30 minutes. His sales have tripled since the rebuild. And he still only brings 7 product types. "The booth IS the brand now. I stopped thinking of it as furniture and started thinking of it as my biggest design project."

The Full-Time Vendor's Guide To Reinvesting Profit

You had a killer weekend. Maybe your best show ever. The money is sitting in your account and the temptation is to celebrate. You earned it. But if you are building a full-time vending career, what you do with profit after a big show matters more than the show itself.This is the guide to reinvesting smart so each good weekend makes the next one better.The 50/30/20 Split That Actually WorksPlenty of vendors wing it. Here is a simple framework that keeps you growing without going broke. 50% back into inventory and materials. Your bestsellers need restocking. New designs need prototyping. This is the fuel that keeps your booth full. 30% into your buffer. Three months of expenses is the floor. Six months is where you stop losing sleep during slow season. 20% into upgrades. Display improvements, better packaging, a new printer, show applications with higher table fees. This is the growth money. Adjust the percentages to your stage. Early on, you might need 70% in inventory. Once your stock is DEEP, shift more toward the buffer and upgrades.The Upgrade That Pays for Itself FastestYour display. Every experienced vendor says the same thing. A better display sells more product per show than almost any other investment. Clear sightlines, vertical real estate, professional presentation.A modular display kit with 35x35cm frosted panels builds five high for 175cm of product visibility. It sets up in under 30 minutes, packs flat into a carry-on sized case, and survives 50+ shows a year. Compare that to spending $200 per show on a setup that looks thrown together.When to Reinvest vs When to SaveReinvest when you have a clear return. More inventory of a proven bestseller. A display upgrade that lets you show more product. Applications to bigger, better-attended shows.Save when the return is unclear. A new product line you have not tested. Expensive equipment for a process you are still learning. These are experiments, not investments. Fund them from the 20% AFTER your buffer is healthy.Track the ReturnEvery reinvestment should have a measurable outcome. Did the new display increase your average sale per show? Did restocking your top seller prevent sellouts? Did the bigger show justify its higher table fee?If you cannot answer these questions, you are spending, not investing. The difference is tracking.What is the first thing I should reinvest in?Stock your bestsellers deep enough that you never sell out mid-show. Lost sales from empty slots cost more than almost any upgrade.How much profit should I keep as personal income?Pay yourself a consistent amount each month, separate from the reinvestment split. Treat it like a salary. Erratic personal draws make it impossible to plan.Is it worth investing in shows with high table fees?Yes, if the attendance and audience match your products. A $500 table at a show with 30,000 attendees can easily outperform a free table at a 200-person market. Research attendance numbers and ask vendors who have done the show before.

The Apartment Storage Problem Every Small-Space Vendor Has

You love doing markets. You hate what your display does to your apartment. Here is every storage pain point vendors face and how to solve each one. 1. The Bulky Grid Wall Eating Your Closet Metal grid walls do not fold. They do not flatten. They sit in the corner of your bedroom looking industrial and taking up 60cm of depth you do not have. Switch to a display system that packs flat. A modular display kit breaks down into 35x35cm panels and ABS connectors that stack into a 56x36x23cm case. That fits UNDER your bed or on a shelf. 2. The PVC Pipe Collection Under The Bed PVC pipe frames seemed like a good budget idea. Now you have 20 odd-length pipes, a bag of connectors, and no memory of which configuration worked. Modular panel systems eliminate this entirely. Every piece is the same size. Every build is reconfigurable. No pipe-length guessing. 3. The Tablecloth Drawer That Won't Close You have four tablecloths because you keep buying new ones when you cannot find the right one. Pick one. Black. Keep it in your display case with everything else. Sell or donate the rest. 4. The Print Inventory Sprawl Prints in flat files, prints in tubes, prints in bags from the last event. Consolidate into one storage system. Portfolio cases stacked vertically take less space than scattered flat storage. Label by event or by title so you can grab what you need in seconds. 5. The "I Might Need This" Box Every vendor has one. A box of clips, hooks, random display accessories bought from three different brands. If you did not use it at the last two events, you will not use it at the next one. The Core kit (24 panels) comes with PLA hooks rated to 5kg per shelf. One system replaces the box of miscellaneous hardware. 6. The Car Tetris Problem Your setup should fit in your car without a game of Tetris every Saturday morning. If it takes more than 10 minutes to load, your system is too bulky. A complete booth setup in a carry-on sized case (56x36x23cm) loads in one trip. The Shapeshift (46 panels) and even the full Shapeshift Duo (92 panels) pack down into surprisingly compact cases. 7. The Roommate Negotiation If you share an apartment, your display gear is probably a point of tension. "Can you move your booth stuff?" is a conversation nobody enjoys. Flat-packing systems that slide into a closet or under a bed eliminate the negotiation entirely. Ships from Sydney to 50+ countries in 1-3 days. Check the full kit range to find a kit that your apartment can actually live with.

The Psychology Of Why People Stop At Certain Tables

We've watched thousands of people walk past hundreds of vendor tables at conventions. And there's a pattern that most artists miss entirely. People don't stop because your art is good. They stop because something interrupted their walking pattern. That's it. The art quality matters AFTER they've already stopped. But the stopping itself is a different mechanism altogether. Convention attendees walk in a kind of autopilot. Eyes forward, scanning at roughly head height, moving at a steady pace. Their brain is filtering out everything that looks like "another table" and only flagging things that break the pattern. A tall display that rises above the table line breaks the pattern. A colour that contrasts with the surrounding booths breaks the pattern. A gap in an otherwise solid row of vendors breaks the pattern. This is why some mediocre artists outsell brilliant ones at events. Their booth sends a stronger interrupt signal. A modular display kit stacking to 175cm puts your work above the autopilot scan line. That height alone is enough to trigger a head turn from people who would have walked right past a flat table. Here's what we've seen work consistently: the booths with the highest stop rate aren't the busiest-looking ones. They're the ones with one really strong visual anchor surrounded by breathing room. A single large piece at eye level with space around it outperforms a wall packed edge to edge with 40 prints. The packed wall reads as noise. The single piece reads as signal. The second trigger is depth. A booth that feels three-dimensional invites people to step closer. Shelves at different depths, panels angled slightly rather than flat, products at varying heights. Your brain reads flat surfaces as walls (keep walking) and dimensional spaces as rooms (step inside). Even subtle depth cues work. We're not saying art quality doesn't matter. Of course it does. But quality converts the sale. It doesn't create the stop. The stop is a spatial and visual interrupt, and you can engineer it deliberately with the right setup. Check the full kit range and think about which configuration gives you that interrupt power.

Building A Look That Works In Every Colour Palette You Sell

You sell stickers in 15 colours. Your prints range from moody dark academia to bright kawaii. Your pin collection covers every fandom from horror to cottagecore. And somehow your booth needs to look like one coherent brand. This is the challenge almost every artist faces. Your art is varied because your audience is varied. But your booth cannot look like a flea market. Here is how to build a display system that stays on-brand no matter what palette you are selling this weekend. Anchor With Hardware, Not Product Your product colours will change from event to event and season to season. Your display hardware should not. Pick a panel colour for your modular display kit that functions as your brand anchor. This is the constant. Everything else rotates around it. Charcoal works with nearly every art style. White works if your art tends dark. Navy reads sophisticated and handles both warm and cool product palettes. The point is choosing ONCE and committing. Your panels, your tablecloth, and your signage form the container. The art inside changes. The container stays. Group By Temperature, Not By Product Type Most artists organise their displays by format: prints here, stickers there, pins in that corner. But visually, format does not matter. Colour temperature does. Group your warm-toned products together and your cool-toned products together, regardless of whether they are prints, stickers, or pins. This creates visual "zones" that each feel cohesive. A cluster of warm reds, oranges, and golds next to a cluster of blues, purples, and greens reads as intentional curation. The same products scattered randomly reads as chaos. Use Neutral Buffers Between Zones When you have two colour zones that would clash if placed side by side, put a neutral buffer between them. This can be a gap, a section of undecorated panel, a business card display, or a price list. Anything that gives the eye a rest between competing palettes. The full kit range kits with more panels (the Shapeshift Duo or Angled Duo, 92 each) give you enough display surface to create real spacing between zones. Smaller kits work too, you just need to be more selective about how many colour palettes you show at once. The Three-Palette Maximum At any given event, try to limit your visible product to three colour palettes. Not three colours. Three palettes (groups of related colours). Warm earth tones is one palette. Cool pastels is another. Dark moody tones is a third. Even if you HAVE inventory in ten palettes, showing three keeps the booth readable. Rotate which three palettes you feature based on the event audience. Anime conventions get the bright palettes. Craft fairs get the earthy ones. Your display colour stays the same regardless. That is how you build a look that works everywhere. Frequently Asked Questions What if my best sellers are all over the colour map? Lead with your top three sellers regardless of colour, then fill around them with pieces that are in the same temperature range. One "wildcard" piece in a different palette is fine. Five wildcards is visual noise. Should I get multiple sets of coloured panels for different events? Only if your brand has genuinely different sub-brands that require it. Most artists are better served by one neutral display colour that works everywhere. Buying extra colour panels to match specific product runs gets expensive and adds setup complexity for minimal gain. How do I display black and white art alongside colourful pieces? Black and white art is the ultimate neutral. It can sit next to any colour zone without clashing. Use it as your buffer zone between two colourful sections, or give it its own panel column at one end of the display.

How To Share A Table Without Your Setups Fighting Each Other

Table sharing is a reality for newer vendors. Half a 180cm table is 90cm. That is not a lot. And when the person next to you has a completely different style, colour palette, and product range, your displays can fight each other visually. The key is creating clear separation without being rude about it and without sacrificing your limited space to a physical barrier. Define Your Zone Visually, Not Physically A display wall behind your half of the table creates an instant visual boundary. Customers can see exactly where your work starts and your neighbour's ends. No guessing, no blending. With a modular display kit like the Core (24 panels), you build a backdrop that sits behind YOUR portion of the table. The frosted 35x35cm panels create a clean gallery wall. Your neighbour's setup might be completely different, but the visual separation makes both booths read clearly. Choose a panel colour from the 19+ options that complements your art style. If your work is bold and colourful, neutral panels let it pop. If your work is minimal, a coloured display adds personality without competing. The Shared Table Communication Protocol Before the event, reach out to your table partner. Agree on three things: which side each of you takes, whether you will share a tablecloth or bring your own halves, and how tall each setup will be. This PREVENTS the situation where one person builds a massive display that overshadows the other. Most table partners are reasonable. They want the same thing you do. A quick message saves hours of awkwardness on the day. Making 90cm Feel Like Enough On a half table, vertical is your only option for showing a real catalogue. Keep the table surface minimal. One small print basket, a card holder, and your payment setup. Everything else goes on the wall behind you. A Core kit builds 5 panels high (175cm) and gives you a display surface of over 1.5 square metres. That is more display area than your entire table surface. It sets up in under 30 minutes, packs flat into a carry-on case (56x36x23cm), and ships from Sydney to 50+ countries. Browse the full kit range to pick the setup that fits your half-table reality. Frequently Asked Questions What if my table partner's display is much bigger than mine?A tall vertical display is your equaliser. Even if they spread wider, your height advantage makes your booth equally visible. Focus on going up rather than matching their spread. Should we coordinate our tablecloth?A single black cloth across the whole table with a clear divider works cleanest. If you bring separate cloths, make sure the edges meet neatly. A messy seam in the middle looks unprofessional for both of you. How do I handle customers who drift into my partner's side?A vertical display wall acts as a natural guide. Customers see the boundary and tend to stay within it. If someone is browsing your wall and drifts, they usually self-correct.

Why Consistency Beats Chaos When You Want To Be Noticed

You know those vendors who look completely different at every event? New layout, new colours, different tablecloth, random signage. They think variety keeps things fresh. What it actually does is make them invisible. Nobody recognises them. Nobody remembers them. Here are the things consistent vendors do that chaotic ones don't. They pick a colour palette and stick with it. Two to three brand colours, repeated across every touchpoint. Display panels, business cards, packaging, banner. When someone walks into a convention and spots that colour combo from 20 metres away, they KNOW whose booth that is. With 19+ panel colours in the full kit range, matching your brand is easy. Their layout follows the same logic every time. Hero pieces always go top-centre. Price points always flow the same direction. Prints in one zone, originals in another, merch in a third. Returning customers can navigate the booth from muscle memory. They use the same display structure. A modular display kit means your booth skeleton is identical event to event. Same height (175cm stacked 5 panels high), same panel arrangement, same visual footprint. The art rotates. The architecture stays. Their signage doesn't change fonts every month. One logo treatment. One font for prices. One style for piece titles. Consistent typography is one of those things customers can't articulate but absolutely feel. Professional vendors look professional because the details match. They have a packing system. Consistency isn't just visual. The vendors who set up fastest are the ones who pack the same way every time. Panels in this bag, prints in that tube, hardware in the front pocket of the carry-on case. The whole thing fits in a 56x36x23cm bag and goes up in under 30 minutes because the process is muscle memory. They photograph everything. After a good event, they take photos of the final booth layout from multiple angles. That becomes the reference for next time. No guessing, no reinventing. Just replicate what worked. They resist the urge to overhaul. New artists redo their booth every few events chasing some perfect layout. Experienced artists pick a structure that works, refine it slowly over time, and let the consistency do the heavy lifting. Small tweaks between events. Never a full redesign. They match online and offline. Their Instagram grid, their online store, and their physical booth all feel like the same brand. Someone who discovers them online can spot their booth at a convention without reading the name. That cross-platform recognition is worth more than any single layout optimisation. They treat the booth as a brand asset. The display isn't disposable. It's an investment. ABS connectors, frosted PP panels, 35x35cm modular pieces that last for years. When you treat your setup as permanent infrastructure, you naturally build consistency because you're iterating on the same foundation. They get recognised. This is the payoff. After 3-4 events with a consistent setup, returning customers find them without a map. They tell friends "look for the booth with the blue panels" or "the tall display near the entrance." That word-of-mouth navigation only works if your booth looks the SAME every time.

Building Height To Solve A Small Footprint Problem

You have a small table. Maybe 120cm. Maybe a shared 180cm where you only get half. And you are staring at your pile of prints wondering how to make it work without looking cramped. The answer is the same one architects figured out decades ago. When floor space is limited, build UP. Why Small Footprints Are Actually An Advantage A tight space forces focus. You cannot display everything, so you display your best. You cannot spread wide, so you build tall. And tall booths get noticed in ways that wide, flat setups never do. Think about it from the customer's perspective. They are walking through a market. Everything is at table height. Then they see a display wall climbing 175cm tall with clean rows of art on frosted panels. That STANDS out. Your small footprint forced you into a setup that is actually more eye-catching than the big booths around you. The Vertical Math That Makes It Work A Core kit (24 panels) from a modular display kit gives you a display wall that fits behind a standard table. Each 35x35cm panel is a display slot. Stack 5 high and you have 175cm of height taking up almost zero table space. Compare that to laying prints flat. A 60cm table depth holds maybe two rows of A4 prints. That is 8-10 pieces visible at once. A vertical wall of the same width holds 20+ pieces across multiple heights. TRIPLE the display area from the same footprint. The Shapeshift (46 panels) gives you enough to build an L-shape if you have a corner, or a wider wall if you have a straight run. Still packs flat into a 56x36x23cm carry-on case. Layout Strategy For Tight Spaces Keep the table surface for three things only: a payment terminal, business cards, and one small impulse-buy display (stickers, pins, small prints). Everything else goes on the wall. Put your hero piece at the top of the wall where it is visible from distance. Eye-level panels get your mid-range prints. Lower panels near the table hold smaller or lower-priced items. This creates a natural price gradient that customers browse intuitively. Ships from Sydney in 1-3 days to 50+ countries. Sets up in under 30 minutes with no tools. Check the full kit range to find the right size for your space. Frequently Asked Questions Can I use a vertical display on a half table?Absolutely. The Core kit (24 panels) fits behind a 90cm half-table comfortably. It actually works better on small tables because the height contrast is more dramatic. Will a tall display block my neighbour?Position your wall behind your table, not beside it. A 175cm wall directly behind you does not encroach on side neighbours. Check event rules for height limits, but most conventions allow up to 180cm behind-table displays.

Building A Booth That Reads From Across The Hall

There's a test most vendors never think about. Stand 15 metres from your booth. Can you tell what you sell? Can you even tell which table is yours? If the answer is no, you have a visibility problem that's costing you sales every single event. The artists who consistently do well at conventions aren't always the most talented. They're the ones whose booths communicate FAST. From across a crowded hall, their setup tells a story before anyone reads a single word. Height Is Your First Advantage Most vendor tables sit at waist height. Every table looks the same from a distance. The moment you build upward, you break the visual line and become a landmark. A modular display kit stacks 5 panels high to 175cm. That puts your art and branding above the crowd, visible from aisles away. Think of your booth as a billboard first and a shop second. The top two rows of panels are your long-range signal. Use them for your biggest, boldest artwork or a clean banner with your brand name. Save the detailed stuff for the lower panels where people can get close. The Three-Second Read Convention attendees make snap decisions. They scan the hall, and their eyes stop on things that are visually distinct. You have roughly three seconds to communicate three things: what you make, that it's quality, and that your booth is worth walking to. Colour blocking is the fastest way to achieve this. Pick 2-3 colours that define your brand and use them consistently. Your display panels, tablecloth, signage, and packaging should all sing the same tune. With 19+ panel colours available, you can match your brand palette exactly. Contrast Makes You Pop Dark art on dark backgrounds vanishes. Light art on white walls goes flat. You need contrast between your pieces and the surface behind them. Frosted panels give you a neutral, semi-translucent backdrop that works with almost any art style. But if your work is predominantly light and airy, consider pairing it with deeper-coloured panels to make it jump off the wall. The same principle applies to your signage. Your name or logo should be the highest-contrast element on your entire display. Bold type, clean background, readable from 10+ metres. Vertical Rhythm And Spacing Cramming every available surface with product is tempting. But clutter kills readability at distance. Leave breathing room between pieces. Use the grid structure of your panels to create a clean rhythm: piece, space, piece, space. This negative space is what makes individual works stand out rather than melting into a wall of stuff. The Shapeshift at 46 panels gives you enough real estate to display generously without cramming. If you run a bigger inventory, the Shapeshift Duo at 92 panels lets you spread out even more while keeping that visual breathing room. Browse the full kit range to figure out which size gives your art the room it needs. Frequently Asked Questions What's the ideal number of pieces to display at a convention?Less than you think. For prints and flat art, 15-25 pieces displayed well outsell 50 pieces crammed together. Each piece needs enough space around it to be appreciated individually. Quality of presentation beats quantity every time. Should my booth look the same at every event?The core structure and branding should stay consistent so repeat attendees recognise you instantly. But rotate your featured pieces based on the audience. An anime convention crowd wants different hero pieces than a craft market audience.

Why Your Booth Needs A Wow Moment, Not Just Good Art

Jess had been doing markets for two years. Good art. Decent prices. Solid repeat customers. But walk-up traffic was always slow. People would glance, keep walking, maybe circle back later. Maybe not. She told us she felt invisible at bigger events. Her prints were good. Her table was clean. But there was nothing that made people STOP. Then she changed one thing. At her next convention, she built a 175cm tall display wall behind her table using a Shapeshift (46 frosted panels). On the top row, she mounted a single large-format print of her most detailed piece. Below it, she arranged her catalogue in clean rows. The table stayed mostly clear. The difference was immediate. What A Wow Moment Actually Does A wow moment is not about having the flashiest booth. It is about having ONE thing that breaks the pattern. In a hall full of flat tables, a tall vertical display is unusual. In a row of busy, cluttered setups, a clean wall of art reads as confident. Jess's hero print was visible from across the hall. People came to her booth because they could see it from three rows away. That never happened when the same print was lying flat on her table. Good art is the baseline. Every vendor at a decent event has good art. The question is not whether your work is worth buying. It is whether your booth gives someone a reason to stop walking and start looking. How To Build Your Own Wow Moment You do not need expensive gear. You need height, one hero piece, and clean presentation. A modular display kit sets up in under 30 minutes with no tools. The 35x35cm frosted PP panels create a gallery-style wall. Pick from 19+ colours so the display matches your brand. Mount your strongest piece up high. Light it if you can. Keep the table surface minimal. Let the wow moment do the work of pulling traffic in, and let your full catalogue close the sale once they are there. Jess told us her sales went up about 40% at the next three events after she started building tall. Same art. Same pricing. Same markets. Just a display that earned attention instead of hoping for it. If your booth is good but not stopping traffic, the art probably is not the problem. The presentation is. Check out the full kit range to find the right kit for your setup. Ships from Sydney in 1-3 days, packs flat into a carry-on, and builds the kind of booth people actually stop for.

The First Thing People See Determines If They Stop

We have watched thousands of customers walk through market aisles. And the pattern is SO consistent it hurts. People do not read your booth. They glance at it. One glance. Maybe half a second. And in that half second, one thing registers. Not your best print. Not your clever banner text. Just whatever is at eye level, front and centre, when their head turns your way. That one thing decides everything. If it grabs them, they slow down. If it does not, they are gone. No second chances. No "oh they will circle back." They will not. We have seen incredible artists get walked past all day because their best work was pinned behind a stack of prints, or tucked to the side, or flat on the table where nobody could see it from the aisle. The fix is embarrassingly simple. Put your single strongest piece at the highest point of your display, facing the traffic flow. Not your newest piece. Not your personal favourite. Your STRONGEST piece. The one that makes people react. Build your display tall with a modular display kit so that piece sits at 150-175cm high. Above the crowd. Visible from distance. That is your billboard. Everything else is supporting cast. We have watched vendors double their stop rate just by moving one print from the table to the top of their display wall. Same art. Same event. Same table position. Just elevated to where eyes actually go. Stop thinking about your booth as a collection of everything you sell. Start thinking about it as one moment that earns attention, backed by a display that rewards it. Browse the full kit range to find a setup that puts your hero piece where it belongs.

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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How long do you plan to use it?

Just one season, trying it out

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A few years

Most artists land here

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Built to last, with room to grow on extra parts and spares for years

What do you display?

Small prints, cards, pins & stickers

Flat, lightweight, easy to pin

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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

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

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

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Amber Yellow

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

$575.10

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

$405.00

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

$54.00

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Foot Connector Expansion Pack [4 Pcs] Add-on

$53.10

Mixed Single & Double Wire Shelf Clip [9 pack] 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

$72.00

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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

$36.00

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

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