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| . . . about instruction |
| Susan Reynolds, Art |
| Images and other content are copyright protected material by Susan Reynolds and may not be reproduced without written consent |
| Lots of email comes in asking about instruction, whether I am currently teaching and questions about what to look for in an art or craft education program. I am not teaching weekly classes but... 1.) I do online art coaching for beginners through advanced students. We use attachments, online classrooms and instant messaging for interaction. Check out the link at right to learn more. 2.) When people in one area assemble a group I can bring the lesson to them in anything from a 3 hour workshop to classes over multiple days. Just email to discuss this possibliity . |
| You might ask to sit in on a class already in progress. Students often feel self-conscious about being “observed”. Making art is something personal that we can be insecure about. If you are not able to observe, the artist may be able to fit you into a workshop or schedule a sample lesson. If it is a child who will be taking lessons ask about parent observation. Do not be offended if the prospective insturctor is not excited about a parent and child "sitting in". A new student in the mix, (adult or child and with or without parent) may disrupt the flow of an established class however well intentioned. You might want to ask for a demo class to give you an idea about whether the artist's style fits the student.. Always insist on paying the instructor for the time to do a private demo. It will be well worth your time and money in good will and is simply the fair way to set up clear relationship boundaries for student and instructor. |
| What is the Expectation? Some of your judgments may be based on the instructor’s expectations of the class. If one assumes that a beginner of whatever age can be shown some "art tricks", such as a simple change of line shape in order to make a 3 dimensional object look "real" on a 2 dimensional surface, the class has the potential to be a very positive one. It's the instructor who makes the class, so at the end of the day trust your feeling when you talk with him or her. In my experience, what turns people off on making art begins when they reach an stage at which suddenly what they do / draw / create does not look "right" to them. Guess what; they’re right! And if they don’t have some guidance they may tune out become the people who say “I can’t draw a straight line with a ruler." |
What about opportunities for exhibiting student work? If a show is planned or students are represented in any local collections or public art areas you can check them out for a feel for what is being taught. Inquire about critiques; are they done and is feedback private or public? There is always something positive in student work and that is the only comment needed from one student to another. Forget propping art around the room so each can be publicly skewered. The student artist is better served by helpful hintsto the class in general and individual suggestions or ideas one on one. |
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| It is difficult to find universal truths, but here are some ideas about art classes. Is it Really Art Class? That's the first priority to look into. Is it a true "art" class or the kind of "creativity opportunities" which we can provide at our own kitchen tables with simple supplies and encouragement/inspiration added in some form. Find an Artist; meaning someone who is a working artist rather than an art “educator”. Artists who open their studios to students often do so because they find it rewarding and inspiring. A student who learns from a working artist will likely pick up more than technique, learning to view art as something that takes work and practice rather than just talent. These lessons are invaluable. |
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| A student of any age is wise to seek out an instructor who points out basic things like how the placement of an item in collage can lead the eye towards the focal point or how drawing a curved line instead of a flat one at the base of a glass. These little bits of information can make a tremendous difference for a student. In my experience it is these simple observations which turn on mental light bulbs around the room and *that* often marks just the start of the students producing some remarkable work. |
| Dear Susan, My kids and I along with a neighbor and her pre-teens have been in art lessons for a few years and have done well. We had class at / with (insert program or instructor) which was fun - but we want at least some help in going beyond this. We encouraged the teacher to transition into (insert: more advanced things, using water media, drawing, or whatever your interest is), but unsuccessfully, so we are now looking for other options or a private instructor to help us. Do you know anyone in (insert area) area that teaches people (insert age) - I want to start with basics but advance to other levels too. What should we be looking for? Thanks for your help. |
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| Although I can't reach everyone, there are still some steps that you can take when looking for instruction. I hope the answer to the "Dear Susan" letter which was complied from numerous emails provides some guidance.. I'd love to hear about your experience and welcome your questions. |
| Owning supplies is crucial to being able to draw daily, or practice the craft being learned often. Depending on the class content, one or the other should be expected of the student. So asking for a supply list is a smartt thing to do when inquiring about a class. If the supply list contains only itmes available in the local chain drug store, I'd suggest caution. On the other hand I’m not in favor of beginning student use of “art school” supplies like charcoal and newsprint pads, although it impresses students and families to no end to feel as if they are using real art supplies. Actually charcoal for beginners is about as necessary as berets and oil paints. Example: For a beginning drawing class a suitable list would include a selection of Prismacolor or student grade colored pencils, a kneaded eraser & a spiral bound acid-free sketch pad at least 9” by 12”, drawing pencils with a range of leads (soft to hard) , a pencil sharpener with a shavings container and a blending stump. |
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