More artists. Less admin.

No Place Art's fee structure — £24 for the first artwork, £10 per additional entry — was configured directly in Dapple and connected to Stripe. Payments went directly into No Place Art's own Stripe account the moment each artist paid, with no holding period, no platform intermediary, and no monthly settlement delay.

With artists submitting an average of 2.6 artworks each, the tiered pricing structure meant revenue grew proportionally with engagement — and well ahead of the growth in artist numbers alone. The most common payment amounts were £24 (1 artwork), £34 (2 artworks), and £44 (3 artworks), with a meaningful tail of artists submitting four or five pieces.

Once selections were made, No Place Art used Dapple's built-in messaging platform to notify applicants of their outcome — sending group messages to different cohorts simultaneously. Successful artists received one message, unsuccessful applicants another, all sent directly through the platform without needing to export email lists or use a separate tool. Replies came back into Dapple, and any individual queries were handled via 1:1 direct messages — keeping the entire conversation thread linked to the relevant application.

Messaging wasn't only used post-selection. In the run-up to the submission deadline, No Place Art sent draft reminder messages through the platform — targeting artists who had started but not yet completed their entry. These nudges converted a meaningful number of saved drafts into completed submissions, directly boosting both the number of artworks received and the revenue from entry fees.

Once the submission window closed and selections were made, No Place Art used Dapple's export tools to pull a full dataset of applicants, artworks, and decisions. Using a Claude integration, they built custom dashboards to analyse the breakdown of submissions by medium, geography, age, and how artists had heard about the call.

These analytics informed decisions for the following year — including where to focus marketing efforts, which channels were driving the highest-quality applicants, and how the programme's reach was evolving. The data also fed directly into grant reports and sponsor briefings, replacing a previously manual process of aggregating information from scattered spreadsheets.

Dapple is built for the full open call lifecycle — not just the form. It handles branded submissions, tiered entry fees, multi-stage judging, real-time payment settlement, artist communications, post-selection logistics, exhibition pack generation, and post-show analytics in a single platform. For a lean arts organisation, that means one tool instead of six, and a team that spends their time on the programme rather than the admin.

The results No Place Art have seen — 30% more artists, 40% more artworks, revenue growing faster than either, average spend up £1.60 per artist — aren't a product of spending more on marketing. They're a product of removing friction at every stage: from the submission form, to deadline reminders that converted drafts into completions, to a judging process that didn't require a spreadsheet, to exhibition logistics handled without a single rogue email. Switching from OESS to Dapple didn't just reduce admin — it removed a ceiling on how much the programme could grow.