Her paintings are easily recognizable, varied in subject matter, and unique in composition, color, paint application, and texture. Surely they are a true reflection of her personality which she describes as slightly unpredictable, playful, yet belying a serious side…"A bit hard to put your finger on", she says.
Showing her sense of humor, she perceives her strength to be, “thinking outside the box”, but then the problem is, she has no idea where she put the box. I wondered how she determined her painting prices and if the popularity of a particular subject influenced her painting choices. She doesn’t select subjects based on popularity, instead she just allows herself to paint whatever intrigues her. That reality shows in her work, and I believe that’s why collectors and artists are drawn to what she does. When pricing her work, she looks at the price structure of other artists at her level professionally
and prices her work similarly.
Pollie approaches life enthusiastically…”feeding her wanderlust.” She likes this quote by poet, Wendell Berry, “Nobody can discover the world for somebody else. Only when we discover it for ourselves does it become common ground and a common bond, and we cease to be alone.” I don’t think Elizabeth Pollie needs to ever be concerned about being alone.
I was primarily involved in the editorial arm of illustration. This was the arena where one would be commissioned to create a book cover, a series of illustrations for a magazine article, etc. It was, to some degree, “The thinking man’s” category. It was a glorious time in illustration given the amount of creativity artists were allowed. Metaphorical thinking was often a part of the equation. This gave rise to some brilliant images. Brad Holland was a hero, as well as many others.
I think there have been times in history when illustration, in some ways, exceeded what was concurrently happening within the fine art world. Often the requirement of strong technical skills along with the ability to go beyond literal translation can make for some very evocative imagery. However, I do not miss illustration given that it was so highly competitive and was vanishing rapidly as more and more art directors turned toward quick and easy digital solutions. I would like to think that when you turn a new page you might unwittingly bring along with you the most meaningful, delightful and essential passages.
How difficult was it for you to transition from illustration to fine art?
It was no effort at all. I had moved to Northern Michigan leaving behind many things. I was no longer teaching illustration at the College for Creative Studies and there was nothing I could blame as an outside distraction.
How would you define art?
There are many impersonal ways of defining art. Francis Bacon said, “The job of the artist is to deepen the mystery”. I love that. I think that it involves creating something that when offered to the world somehow enlivens the senses in a sublime manner.
John, I don’t think there is a “Why ?” Those were the seeds I was born with. I have no question about it. This may be my one truth. As far as what motivates me, I think it’s a slightly obsessive love of possibilities within the realm of representational imagery and trying to come up with an interesting and evocative solution.
“The world is full of wonder, mystery and any number of subtle connections. As a visual artist, I love exploring the nuances found within the confines of ‘the everyday’. The artist, Paul Klee is quoted as saying, ‘One eye sees. The other eye feels’. This dual lens is what comes into play when painting any subject matter. I believe the best paintings arise from the ability to balance what is easily observed with what stirs quietly just out of reach. It is the unspoken yet deeply felt nature of things that leaves me continually inspired.”
How would you describe your painting style?
John, I would have to leave that to the critics. I don’t really think In terms of style because there are so many ways to represent something in two dimensions, yet by comparison there are relatively few ways of describing one’s style.
This evolution feels very natural. Really I think that all artistic evolution is a form of response to a combination of personal history and experience, current conditions, and ongoing stimuli. In truth, I sometimes feel more at the mercy of this process than assuming that I am behind the wheel.
You paint a variety of subjects; why is this important to you?
Admittedly, I have a restless spirit. On certain levels, how one thing relates to another often attracts me more than the subject matter itself. And, I think any subject can be imbued with a sense of mood, mystery and some kind of beauty. I recently saw a painting of a couch and it was simply gorgeous – the painting that is, not the couch. Put 10 great writers in a room and ask them to describe a glass of water sitting on a table. If you are mesmerized, it was the description not the actual object.
Animals represent an important part of your repertoire, what is the connection?
I was the girl who brought home every stray, filled her bedroom with stuffed animals and named each one, dreamed of having a house full of cats and dogs ( and subsequently did). It’s impossible to describe how deeply I love and respect the animal world. Nor can I describe how I feel when I stand and watch them – it goes deep. Still, when I paint animals, I always begin by looking at them as a shape among shapes. As the painting develops the mood of the piece begins to come forward. With hope, nuances and layers that might describe my connection to them are woven into the initial structure. I hate the idea of simply painting a cute cow. I love the idea of painting the essence of something lovely.
I focus on 3 things; design, light and mood. Design is the plot, mood is the overall feel of the story (the emotional core). Color, value, brushwork, surface, these are how one gets there.
Do you have compositional principles that you always adhere to?
No, but my tendency it to crop in and think of everything as a still life. I have no issues with moving, creating and getting rid of elements to strengthen the composition. I tend to prefer my compositions to be a bit more spare than busy…more quiet than noisy.
“Although my work has a very analytical side to it, I am probably more prone to be swayed by intuitive impulses. If you can see in your mind’s eye, then at least you can head in that general direction. I have never been someone who relies on technical information. For me, painting is an initial idea followed by a series of questions and the answers that come up along the way. Every answer gives birth to a new question.”
You seem to give considerable attention to paint application and the surface quality of your paintings, why is that important to you?
I recently heard an interview with David Hockney. He mentioned that the first thing he looks at when viewing a painting is it’s surface! I think surface has a power all it’s own. It feels as though it has a magical kind of DNA. It contains traces of its creation; its own private history. How could one enter the Colosseum in Rome and not want to touch everything? How can you walk through the woods and not lay your hands at least one tree? I think in many ways our eye’s touch paintings, and even though they are always thought of as 2 dimensional, the surface lends a new subtle dimension.
Composition and drawing are primary and equal in my book. Next I would say, value, technique, color, edges, framing. Concept is integrated into and guides all of these elements.
What colors are typically on your palette; how/why were these colors selected?
I use eight to nine colors… a warm and a cool of red, blue, yellow, plus white, asphaltum, and a few oddball colors. I also try to have at least four transparent colors on the palette. This allows me a great deal of color harmonizing, push and pull, as well as the ability to enliven the piece with pure chroma.
Do you have a color philosophy or is your choice of color, while painting, intuitive?
Primarily modulating within a chosen scheme…warm and cool, transparent and opaque, darks and lights. So, even if it’s a warm painting, I still will play with relative” cools”. When it comes to pushing color and mark making, it’s quite intuitive and far from predictable.
I have never been someone who adheres well to any kind of routine. Because of this I don’t begin all pieces the same way. I don’t really have a method. I sometimes start by laying down color, letting it dry and then choosing what to paint over it; that gives a diving board. Sometimes I draw something in and then throw down a color that will set up something to play off of. Again, the main concern is the design; it is not alla prima. I work all over the canvas in pretty thin layers, usually building up to a few areas of thicker paint.
“I think surface has a power all its own. It feels as though it has a magical kind of DNA. It contains traces of its creation, its own private history”
Do you consider the process of painting more important than the result?
Results, being the sum of the effort, matter greatly to me. The process, being the journey has it’s own personal value but I am not at all attached to it. I often find that I am vexed by my own circuitous path. At one time, I thought that my time in front of the easel might become easier as my knowledge and skills grew. In fact, it’s just the opposite. As my understanding has grown so has my desire to improve my paintings. As ones language grows so does the variety of choices regarding how they might articulate their thoughts. And so it goes.
What’s the most difficult part of painting for you?
Trusting that the audience is smarter than I think. The human brain needs very few visual clues to piece something together. I sometimes think there is more power in what we leave out versus what we choose to include. Poetry is a great example of how very few words, used in brilliant combinations can create something utterly sublime. Finding this balance in painting is greatly challenging. I think tiny nuances have great impact. Knowing when and where to weave these in can be utterly confounding.
My father loved art and architecture. It was a language that was spoken in our home. And, I was lucky to grow up spending nearly every Saturday messing around in art rooms that were connected to our local museum. I could wander into the museum and spend time perusing the various collections and special exhibitions. There was a Cassatt, a Sargent, a William Wendt, an Andrew Wyeth and several Hudson River school painters. By the time I went to art school I had my own inner-catalog of favorites. At eighteen, I loved Francis Bacon and then Edward Hopper. In my twenties I was smitten with American Regionalism (Grant Wood, Thomas Hart Benton , etc.) and the Canadian Group of Seven.
When illustration became my primary focus I delighted in the illustrations of N C Wyeth, Howard Pyle, Dean Cornwell and Frank Brangwyn, and the line work of Arthur Rackham; this was all before I was thirty. As the years passed, more and more artists piled in and continue to do so on a regular basis. I suppose it’s one big happy family that continues to grow and help inform my own visual vocabulary. Perhaps that’s why I am never lonely in my studio, at any one moment in time there’s a pretty big crowd milling about in my head.
I think the best use of influence is to receive it in the form of inspiration. If something trickles down, I’d prefer it is almost unconscious. The one thing I avoid is looking at anyone else’s work while I paint because I find it can undermine my sense of trust in my own instincts.
I don’t really have a clear answer for that. I would suggest that an individual who is in the earlier stages of their development not attach too firmly to one artist. Instead, I’m inclined to encourage people to fall in love with art history. Of course, learn about the craft but I think there is something profoundly important about knowing how one art movement gave way to another. There is always something to be learned by reading about the struggles of noted artists. Drink it all in. It’s so rich and relevant on many levels. Go to museums. Be dazzled, amazed and curious. Take this same awe and curiosity with you wherever you go; carry it with you into the woods, up and down the aisles of the grocery store, down along the railroad tracks, this can only enhance and expand your own point of view which is always there waiting to be expressed in it’s own unique way.
“I don’t feel all that successful as an artist. I think the way I measure personal success is pretty complex and I feel I have such a long way to go.”
Anybody’s guess. I have some health issues that from time to time cause pretty big fatigue. This only means my days start later and I might struggle a bit with focus. Turns out, energy is a rather wonderful thing. But all in all, I feel so lucky to get up in the morning and look out over Lake Michigan. It centers me. On my drive in, I often stop to say hello to a group of cows that I pass everyday. That just makes me happy. I have lunch with my husband. And, finally when I find myself in front of my easel I usually stay there, for better or for worse, and have a good long go at it.
What is West Wind Atelier?
West Wind Atelier was the name of my first studio in Harbor Springs when I moved to Northern Michigan. It was where I worked, taught and exhibited my work. I’ve since moved to a different studio and I own a gallery named Elizabeth Pollie Fine Art where I sell my work and represent Marc Hanson, Mark Horton, Derek Penix, Kathleen Newman, and Shannon Runquist.
Many thanks to Elizabeth Pollie for this beautiful interview. Why don’t you let her know how much you appreciate her sharing part of her life with us?
Oil Painting
Back to Basics: Drawing
To be sound, a painting must be built on a compositional foundation in this order:
- Drawing
- Value
- Color
- Edges
If these get addressed in any other order, problems generally ensue.
Recently, the artist Jeremy Lipking was asked what advice he would give to painters, and he said:
“Draw more, that’s basically it. A lot of people feel like they know how to draw good enough already, but don’t trust yourself. Learn to draw better.”
With the fewest words and most pictures possible, I would like to briefly address the issue of drawing. In the following visual example, I have shown how fundamentally a piece can change when just the drawing is ignored. The values and color are the same in both pieces. The point is obvious:
Too often we divorce drawing from painting, and we do it to our own detriment. Drawing isn’t something we do in school once and then move on to the weightier matters of art; it is always the foundation. It’s also hard to do because it takes sustained and focused practice, which is why students usually, at least initially, copy the stroke quality and edges of other artists, because those things are more easily observed and imitated.
Another mistake we often make is to exclusively think of drawing as line-based. Line can certainly be a useful tool when drawing, because the instruments employed tend to create thinner marks, but really, drawing is about principles, not marks. Thus, I would like to address two principles of drawing: Proportion and Simplification of Form.
1. PROPORTION
There is a lot one could talk about here, but basically, it comes down to creating an unequal distribution of space in a piece. This is also the same for unequal proportions of value, color, and edges.
In these two examples, I have laid out how proportion of shapes, space, and value can affect a piece. No one of these proportion examples is correct or incorrect all the time, but it’s important to be aware of how and why you’re distributing/dividing space. When plein air painting, this is most often manifest in how we choose a horizon line and a focal point. We usually respond emotionally to everything we’re seeing in nature, and thus want to paint the sky, meadow, trees, and mountains all at once. But of course we can’t have a conversation with two people at once, so everything ends up feeling confused and passive. Next time you’re looking at a scene, try choosing one thing and letting that dominate. This is true within a shape as well (i.e. branches within a tree), which leads us to the next principle.
2. BASIC SHAPES
When I was young I saw how-to-draw books that broke things down into basic shapes and I thought they were lame. The drawings in those books didn’t seem to match the highly rendered pieces that I responded to and used as an aspirational goal. So, as most of us, I focused on rendering and shading and learned how to do it well. That was drawing to me.
But the more I learned post-high school, I started to see the pattern of truth re-emerge: Basic shapes REALLY ARE the way to draw. And it starts with training our eyes and minds to simplify down what we see to the most basic elements:
But it’s not enough to merely simplify something. In fact, getting to the essence of something is extremely difficult. It’s the same reason why writers often comment that a strong short story is harder to write than a novel. One can use fewer words in a conversation and be either concise or confusing. So, don’t just simplify down shapes, be descriptive with them.
To close, here is an example of how I made choices of proportion and simplification in a painting:
The reference image gives the basic information, but in a static way. I chose the elements I felt were most interesting and descriptive and tried to build a painting around the idea using unequal proportions and descriptive simplification of shapes, values, colors, and edges.
May this be a year of stronger drawing in all of our work.
Three's A Charm
Over the years I’ve been on the receiving end of some wise advice, and several of those conversations will always stand out to me as having changed my life in some way. While I won’t burden you with every single life lesson I’ve learned, I will tell you about one recent conversation that helped tear down a huge mental block I was facing in my art.
It was nearly two months ago. I was one of the hundreds of guests (mostly artists) crowding into Gallery 1261 for the opening reception of Richard Schmid’s retrospective show. The place was packed and I had to speak at the top of my lungs to be heard by anyone standing more than twelve inches from me. In this space, I crossed paths with the indomitable Rose Frantzen, one of my all-time favorite artists and someone I greatly admire. We were practically yelling in each other’s faces to be heard above the chaos, and yet out of this noise came such wisdom from Rose, I find myself thinking about it still.
I don’t remember how it came up, but I was telling her about a portrait commission I had been working on for the past five months and how much of a struggle it was. I had repainted the face four or five times, and each time it only seemed to get worse, not better. Rose, in her unsympathetic but not unkind way, said, “Start over. Let the dead paintings die.” She then proceeded to tell me about a commission that she had done from an old black and white photograph. She spent over a hundred hours on this painting, laboring to get every detail exactly perfect. Then, she started a second one and completed it in just six hours. It was different from the first, but no less perfect. She presented the clients with both paintings, not telling them which one she had spent more time on. The clients chose the six-hour painting. Later, they called her and said they also wanted to buy the other one.
I was blown away by Rose’s story and realized that this woman does not let fear get to her. I think I’m confident but then after one conversation with someone like Rose, I realize I still have much to learn!
After that, I went home to my studio, and, with some dread, sent the clients an email explaining that I needed to start over and would need some more time. To my surprise and relief, they were very understanding and said they appreciated that I was working so hard to get it right!
I was nearing the finish line when I decided I ought to start a third portrait. The clients were apprehensive about their daughter’s stoic expression, which didn’t really fit her personality. So I went back to the smile that they were drawn to originally, and started another painting in order to give the clients more options. The lighting was very different in this one, as was the expression, so the two paintings almost had nothing in common except for the subject.
Finally, I presented both paintings to the clients. They sat and deliberated, weighing the pros and cons of each one. We all agreed that I could have painted a hundred paintings of this sweet little girl and they still wouldn’t capture every facet of who she is! But a painting tells so much more of a story than a photo does. It captures something deeper, something that grows on you every time you look at it.
Finally, the clients decided they wanted to buy both.
Grit and hard work do pay off, but not unless you have the confidence to carry through. I am grateful for Rose’s words of wisdom and for challenging me to let go of the long hours and miles of canvas in order to make my best work. Now I can deliver my finished portraits in full confidence that I did the absolute best I could do – without regrets. My clients and I are both the better for it!
I hope this post encourages you in some way to keep going. If you’ve been struggling with a project and it just isn’t working, start over! Know that those hours were not in vain, because each time you start fresh, you’ll have that wealth of experience from your previous painting to help you make more informed decisions along the way. Happy painting!
WORKSHOP WITH CAROLYN ANDERSON: A PERSONAL DISCOVERY
Here’s why I needed to see Carolyn: Stat!
Earlier in the summer, I was excited to join a new group of artists who paint portraits from models every week. Since we met so often, I thought that all this great practice would lead to a freer, more interpretive style in my paintings. Sadly, I was mistaken.
Instead of evolving into a looser style, my portrait studies became more academic, with lots of attention paid to the form of the head and the likeness of my model. But I wanted to evolve! I wanted my portraits to stand alone as pieces of art, rather than something only the model’s family would love.
I knew that I needed to see Carolyn Anderson, and fast. I had gone to one of her workshops a few years ago, and I wanted “Michelle” painted by Ann Feldman before Carolyn’s workshop to reinforce the concepts she taught me about “how to see” and how to integrate the model into a dynamic composition.
Fechin Art Workshops in Taos, New Mexico had an opening in Carolyn’s next workshop. Little did I know how lucky I was to land this spot! The workshop included a room at the beautiful and rustic Hotel St Bernard, nestled in the Taos ski valley, and every day for five days, we painted well into the evenings, with breaks for yoga and meals provided by Jean Mayer, who has hosted visitors to his hotel for over 50 years. Our workshop organizer, Elise Waters Olonia made sure that we could focus all of our attention on our art. I was in heaven!
Here’s what I learned from Carolyn:
The following is a description of a series of demonstrations done by Carolyn for our workshop, condensed into one example. In addition to these demonstrations, Carolyn presented very comprehensive lectures on color theory, edges, temperature, and the art of interpretation, among other topics. To cover all of this information, this article would become the size of a book, so I will focus on what I learned from her demonstrations.
Approach the Composition as a Whole
Carolyn doesn’t paint a model’s head as a separate entity. She looks for the extreme values in the entire setup and makes marks for the darkest darks and the lightest lights and uses these marks to guide the more nuanced values in the rest of the painting.
Find Direction, Movement, and Shapes in the Composition
From her initial value marks, she finds interesting shapes and pathways through the composition to make the painting dynamic. This is not the time to define shapes, but to make visual connections that are interesting. She explained that since our eyes pick up value and movement first, we need to use this information throughout the painting process, but most importantly in the very beginning.
Look for Color and Nuance
As she makes her value notes and begins to find directional movement, she also notices color nuance beginning to emerge, and makes color notes throughout the composition. She loads her brush with a color that she sees, then uses it all over the composition wherever it appears to create color harmony in her painting. She tells us that this also keeps her from painting “things”, and dwelling too long on small parts of the composition. She continually builds the painting as a whole.
Build the Painting
She abbreviates steps instead of overdeveloping any areas of the painting and lets areas with similar value intermingle. She avoids solid outlines, especially around the head. She suggests shapes and allows them to meld into the background or other shapes whenever possible. She looks for visual connections everywhere, and tells us that in paintings, objects are not separate from space; everything is connected. As she paints, her eyes continually jump from one area to the next, making marks of whatever catches her eye. This allows the painting to work as a whole. She reminds us that if we look at any one thing too long, it will lose its context. She tells us that “A successful painting happens when the whole is greater than the sum of its parts”.
My Turn to Try: Applying the Lessons Learned
During the workshop, I began to understand that I needed to paint the entire composition rather than focusing on just the model and adding in the background as an afterthought. I tried to find my values and movement from the beginning of my process.
I also tried my hand at finding color harmony and bouncing it around the painting. I made a conscious effort not to paint the model as a separate entity from the background, but to make her part of the whole of the painting and allow values and edges to meld together.
Push Your Boundaries
“If you want to create a painting which exceeds your previous expectations, you have to be willing to fail. Make mistakes and experiment; it’s the only way to push past your boundaries.”
-Carolyn Anderson
For me, this last point is the most important of all. I’ll go back to my portrait group armed with a new attitude instead of playing it safe and painting as I’ve always done, I’ll push my limits and be comfortable with some failures. This is the only way I’ll make new discoveries.
After all, what have I got to lose?
Day 2 of Carolyn’s Workshop
The Art of Teaching Art
I know I would not be the artist I am today without my teaching experience. Teaching art has enriched my life in many ways. Ironically, teaching is something I thought I’d be really dreadful at. As a teen I was a stubborn introvert. Public speaking caused me great anxiety. Although I wanted to improve my art, I remember hating most of my art teacher’s comments. You could even say I was a teacher’s worst nightmare… an unreachable student.
I never had aspirations to teach art, but fate intervened in the form of several women who saw my artwork on exhibit. They approached me and said they needed a person to ‘present a project for the day as an excuse to get together and chat’ (their words not mine) as their current teacher was leaving town. They pestered me until I said ‘yes.’ Thus began my teaching journey about 20 years ago. I was shocked to find I could actually enjoy teaching a class, moreover the students had fun too.
If I can overcome my early obstacles, it is possible for anyone. I currently see about 60 students per week for local classes and conduct travel workshops (US and abroad). Watching students of mine learn and progress into first-rate artists has been a uniquely rewarding experience.
BENEFITS OF TEACHING
- Clarification
Concepts get clarified in your mind as you teach them to others. - Reliability
Predictable income versus art sales that fluctuate. - Disciplined time to paint.
No more procrastination. The practice of consistently producing a demo for students (regardless of inspiration or light conditions) has helped me to focus in the studio, and perform faster outdoors for plein air work. - Travel
As a teacher all travel expenses get paid for workshops. - A chance to give back.
Art is a wonderful thing to share. Artists through the centuries have passed along knowledge student-to-teacher, and many painters feel this is fulfilling part of what it means to be an artist.
STRATEGIES FOR THE BEGINNING TEACHER:
- Volunteering
Volunteer to teach a class, give a demo or assist (school, senior center, etc.). - Prepare
Prepare well to gain confidence. When I first started I would pre-do every demo. I had handouts to get my thoughts organized. I didn’t make much per hour in these early days, as I spent a huge amount of time pre-preparing. - Start Small
Teach a friend or relative. Ask for feedback on how the process was for them. - Remember
Remember what it felt like to be a student and think about who was a good teacher and who was not. Would you rather “copy from that stack of National Geographics” (as one teacher told me) or would you rather draw from life; and be taught line, shape, and color with varied media? In hindsight, I am grateful I had talented teachers and ones who disappointed me. I learned from both.
CLASS NUTS AND BOLTS – AND WHERE TO GET STUDENTS
- Have a good website.
List your classes, show examples of your work, and have a bio of accomplishments. Provide a supply list and links to resources. - Maintain a mailing list.
Send an email newsletter about upcoming workshops, classes, and exhibits. - Make Friends
Affiliate with an art school or art store. Staff will handle enrollment, advertise classes, and have a pre-existing student base. Have a contract so expectations are clear. Schools take a percentage of the tuition. - Try Something New
Try a “Sip and Paint” (the instructor shows a final painting, and students follow steps to completion while sipping wine.) I have not done this, but they are popular and it could be a good way to break into teaching. Which brings me to my next point: - Know your strengths and weaknesses.
I dislike step-by-step teaching where everyone paints the same image and with the same colors. Instead, I love to paint on-location and to show students how to see and organize what is in front of them. - What to charge.
Fees vary widely. Tuition will depend on your experience, your resume, geographical location, travel costs, the current economy, and demand. One way to figure your rate is hourly. A per-head fee is another way to structure tuition. Research fees at local art schools. - Get your business in order.
Seek advice from professionals (insurance agent, accountant, etc.). In addition to a business license, an EIN tax number and a business checking account, you should also have a business insurance policy for liability. Make sure your insurance policy covers you overseas if needed. Look into becoming an LLC. Check for any county/residential restrictions or permits. Workshop students should have travel insurance.
APPRECIATE THE ARTISTIC PROCESS
- Embrace mistakes in student art.
Most students (especially beginners) think they need a lot of one-on-one attention because they are afraid to make a mistake. Mistakes are part of the learning process. Encourage independent painting. Don’t hover near the student with instant corrections. Tailor advice to each student based on individual needs. - Encourage individuality.
Not all students will want to paint the same thing, or even do your lesson for the day. - Give your students permission to play.
Unfortunately, getting ‘a perfect trophy painting’ is often a student’s main goal. Instead, encourage exploration. - The bottom line.
Easel-side personalized assistance at intervals in the painting process is more important overall than telling students ‘how to do’ something. Individual advice (artists to look at, ideas to explore, answers to questions) is the best way to have students move forward on their journey in art.
PITFALLS TO AVOID
- Don’t overload students with too much information.
Break things down into manageable steps. Offer focused ‘tasks for the day’ (i.e., negative shapes, aerial perspective, mixing fall tree colors, etc.). Consider how one lesson might flow into the next to build skills such as: a portrait of a tree (shapes), then aerial perspective for the next lesson (atmospheric color), and a mountain scene for the final lesson putting prior concepts together. - Have patience.
As the instructor it is your job to fully understand the concept. Students may be hearing it for the first time. You may have to repeat yourself many times and reinforce the concept with varied examples. - Don’t do a demo that is too long or too perfect
(one hour maximum, half hour is better). Show enough to demonstrate a concept, but get students working as soon as possible to reinforce the learning process. Showing how to do a larger painting, or as a ‘long demo’ is OK on occasion. - Allow proper time
Students need time to clean up and chit chat as people exit the class. - Have a cancellation policy.
If you don’t you may find that you are wasting your time preparing for lessons that do not happen. - Expect the unexpected.
I am astonished at the new ways the universe likes to surprise me in class. Try to handle issues such as illness, personality clashes, and equipment snafus with grace. Understand that many students just want to do well in a workshop or class, and strong feelings of anxiety or insecurity can pop up. - The customer is (almost) always right.
Don’t forget you are a hired person offering a service. Students have paid for your time and they have a choice with whom to study. Go the extra mile for your students. There are times when you can’t please everyone. Solicit feedback, and listen. - Ask before touching or correcting a student’s painting.
Personally, I think we are in a visual line of work, thus a visual correction is a better, faster way of showing a student what to do versus just talking about it. I often paint on student’s paintings. Most students will be fine with it, but a few are not. Respect preferences.
GETTING BETTER
- Continue to learn.
Rediscover what it’s like to be a student again and take a workshop with an instructor you admire, or try something new. Try to expand your skill set. This will help you teach a wide variety of students. Immerse yourself in the joy of learning. It’s lovely to watch someone else do a demo, critique, lecture, or handle a class problem. Read all you can about art, try out new ideas, visit exhibits. - Connect with other artists.
Plein air events, art conventions, and lectures, are great places to share ideas and meet other artists. Take a trip with a few art friends to a museum, or an art-rich environment such as New York City. - Co-teach a workshop with a friend.
Share ideas and have fun with only half the responsibility of the teaching load. - Learn from your students.
Keep an open mind and you will see that in the end you learn as much from your students as hopefully they learn from you.
I used to think that if I got enough experience I would become ‘a good teacher’ but I realize now that the journey is more important than achieving the goal. We are ALL learning, if we stop there is stagnation and repeating the same thing. The curious brain is one-and-the-same as the artistic brain. This in the end, is how to keep growing as a teacher, to let students see you are still learning and that is the best teaching tool of all.