Workshops tend to be expensive on the face of it. But behind the scenes, I spend hours preparing reference photos, a slide show, writing (and endlessly editing) my handouts for clarity, simplicity and accuracy. I create a trial-run painting that alerts me to the best way to break down the steps to complete a painting in two days. What to do and when is often a mystery to students who admire a painting and wish they could create something of their own. So it’s important that I’m clear about the process.
Besides these preparations, there’s time needed for communication with all the folks who have opted into my mailing list to be notified of the workshop, plus follow up to inquiries. I must create a good, short description of the class for my mailing. Besides informing potential students, this helps me clarify exactly what I want to focus on.
I’ll decide on the venue for the class and prepare that too.
This last go-round, I decided to include materials in the class fee. It has added hours to the prep time. But in the past, I’ve been frustrated with the variety of materials art store clerks have assured my students will be “just the same.” They never are. Having everyone using exactly the same mediums, canvases and paints helps us all. So does working from the same photograph. I am always surprised by the variety of expression and focus my students bring to class. It becomes even more clear when we are all working from a standardized set of materials and references. The extra effort is worthwhile to me and we learn so much from each other.
This individual hands-on instruction thing is a crucial part of art training. It saves time, shortens the learning curve, and saves materials from being wasted. All this said, however, sometimes it is just out of reach, financially. For that person, I will consider a scholarship assist and provide materials. This is how you contact me for that: info@susandowningwhite.com.
Besides these preparations, there’s time needed for communication with all the folks who have opted into my mailing list to be notified of the workshop, plus follow up to inquiries. I must create a good, short description of the class for my mailing. Besides informing potential students, this helps me clarify exactly what I want to focus on.
I’ll decide on the venue for the class and prepare that too.
This last go-round, I decided to include materials in the class fee. It has added hours to the prep time. But in the past, I’ve been frustrated with the variety of materials art store clerks have assured my students will be “just the same.” They never are. Having everyone using exactly the same mediums, canvases and paints helps us all. So does working from the same photograph. I am always surprised by the variety of expression and focus my students bring to class. It becomes even more clear when we are all working from a standardized set of materials and references. The extra effort is worthwhile to me and we learn so much from each other.
This individual hands-on instruction thing is a crucial part of art training. It saves time, shortens the learning curve, and saves materials from being wasted. All this said, however, sometimes it is just out of reach, financially. For that person, I will consider a scholarship assist and provide materials. This is how you contact me for that: info@susandowningwhite.com.
