Good book for teaching
 

There's another good book too, called ArtFun! which has exercises for drawing, painting, sculpture, printmaking, etc, in kid-size bits. It's cool - you'll recognize contour drawing, blind countour drawings, value exercises and all kinds of other things you were forced to do in school, only FUN. I've used it for kids from 4-12.

Thanks ladies, I'll give those books a look.

Mike, I used to teach art to K-8 in a private school. I got the best results from "Drawing on the Right Side of the Brain;" I used it only for the older kids, about fourth grade and up. I've also used it in teaching adults with good results. A few months ago I did a one night class for the ladies group in our church; the ones who listened and did what I said were amazed at what they were able to produce in just one class. They commented that they felt like "real artists." Of course the ones who didn't listen reacted like the kids used to, by covering up their pictures.
Debra

Mike,

I think you'd make a marvelous teacher! Hope you decide to do it!

On the subject of public commentary, I did my first public painting last month at Los Abrigados, a beautiful Hotel ot Oak Creek Canyon in Sedona AZ. The residents of Arizona probably know of it. My family and I usually stay there for a week every summer, and this year I decided I wanted to spend some of that time painting in the park-like atmostphere of the creek on the premises. I brought a painting I was about 2/3 done with and set up near the creek under one of the shade tree's there. They had a wedding going on at the other end, and it was peaceful despite the visitors and occasional tour guides coming through to sell timeshares. In fact, some of them stopped and admired my painting, and so did several other hotel guests. For the first time, I saw real admiration from people I did not know, and I was almost bowled over at the wonderful things they said. It really restored some of my confidence. The funniest part was when 2 little girls from the wedding party came over and watched me paint. The oldest girl, maybe 10 or so said to me "Can't you paint someone in person, or do you just paint from photographs?" I smiled and told her I could, but mostly just paint from photos because people don't usually have the time to pose long enough for a painted portrait. She looked thoughful from my answer, but unconvinced. The younger girl, maybe 6, piped up and said "I wouldn't mind posing!" all the time dancing around as she was saying it. I really wondered if these girls had been listening to adult opinions, or had decided this on their own. It sounded more like something they had overheard, but you never know. Out of the mouth of babes!

Marta,

I've been to Sedona, one of the most uniquely beautiful places on this earth. I'm not familiar with the hotel you mentioned, my favorite place to stay there is L'Auberge de Sedona. I used to say L'Auberge, now I just say "the duck."

Even though I started this thread with something negative a passerby had said, only with a couple of exceptions the comments are as you describe.

What I don't like most of all are the people who seem totally uninterested, without any curiosity at all. This is so far away from my state of mind. I can't imagine passing by someone creating something with their hands, whether carving soap, sharpening scissors or especially someone painting a portrait, and being completely uninterested. For some reason I feel insulted more than if they would have stopped, looked, and proclaimed my work to be crap!

For those who have their gaze fixed on something on the other side of the aisle or, are talking amongst themselves and too busy to notice, I'm not above dropping my ruler on the floor to create a clang. Sorry, I say, don't mind me.

Mike,

I agree, I cannot understand the people who are not even curious.

I do it a little differently though. I totally ignore anyone who comes in my studio. I say hi if they get close enough, but other than that I leave them alone to browse. I figure if they are interested they will come ask, and they do usually. I've been to many studio/galleries of artists that follow you around as you're looking and chatting the whole time. If I am trying to talk to someone with me or just absorb, it bothers me.

It is a continued discussion with my husband and I, he thinks I should be more of a salesperson. He will chat people up if he is there. What do you think? It wasn't supposed to be a gallery or public studio, but because of where it is and the windows people started wandering in and even banging on the doors when they were locked. So went ahead and put up a sign. It's been beneficial, but I much prefer to just paint rather than deal with people.

From my own personal observations (I've been a salesman all my life) I think most people want to be sold. There are some caveats to this however, they don't want to be hounded or stalked, and they want to dictate the terms of the engagement. This is where, as the salesman, you have to be able to read the situation. I think they do appreciate someone who has good knowledge of the product or, and especially, if that person is the "principle."

I would say to greet every person that enters the door with a howdy (or "SUP" if you live on the east or west coast). After a few minutes for them to get adjusted, I would introduce myself as the head dudette in charge of production and then reevaluate.

If someone enters your shop they have already been qualified as "interested." For me, I have to snare, seduce, cajole, entice, even if it means creating a loud clang, as my metal ruler hits the floor. Sorry, don't mind me.

At the outdoor show I do, I smile and say hi to everyone who stops to look. In the salesperson's methodology, it's part of step one: "establish rapport."

Step two, by the way, is "establish credibility." This is sometimes done first, since they see the artwork and like it enough to come and look more closely.

So I guess since I live here in TX now I need to do a "HOWDY Y'ALL!"

People here are so friendly, Southerners are really social. I tend to be more antisocial. I kind of resent the time people sometimes take away from my painting as well, unless they are buying, of course.

I once spent an hour and a half listening to a local preacher tell me how he and his wife are as good, if not better, than I am at painting, but how you just can't make a living at it these days. He was so full of himself. I was about to lose it when an actual client arrived, thank goodness!

Mike,
One of my children was sculpting and drawing recognizable faces and figures at age 4. (I am allowed to brag) :D

I would say from 9 or 10 is as young as I like to teach, and only then in half hour classes and no more than 6 to a class. I would think that with your studio set up, if you have room, you could have a very select group of talented kids who would appreciate the opportunity to learn, and you in turn will derive a great deal of pleasure from them. Not, however, if it turns into babysitting.

They need pencils and drawing pads, nothing that makes a mess. All you should need to do is set up the subject and give assistance as required. I try not to mix high school and primary school ages but if they are well behaved (and they don't come again if they are not) mixing ages is OK.

I also found that telling them a very descriptive short story and then getting them to illustrate it was a great way to inspire creativity. I also have found, in general, that the truly talented child artist is also a talented dancer or musician or writer or sportsperson with many commitments and they love the quiet time of a drawing class.

I would definitely recommend anyone trying to sell at a public show to have a demonstration piece in process that they can work on while the people stroll by your booth. If you sit in a chair waiting and watching for people to stop, they will just keep on walking 90% of the time. The minute I get up and start to work on my piece, I am soon surrounded by a large crowd of people. As soon as one person gathers the courage to speak or if I turn around and acknowledge their presence, a never-ending series of questions ensues.

I think people are more prone to take interest in your work if they don't feel that you are waiting to make a sales pitch to them. I don't feel I am snubbing them if I am working, especially since I rarely work over 5 minutes without having to stop and answer questions.

A work in progress is a great conversation starter. The children are especially intrigued and it's a great feeling to see the wheels turning in their little heads wanting to be able to make what I am making. Many of them ask for a small piece of clay before they leave and I know it is their first experience with this marvelous medium.

I have never had a customer say an unkind thing, but at my first show, I did stick my foot in my mouth and unintentionally insulted a customer. A quite unappealing looking man with a lovely woman came to my booth and the woman proclaimed "Look dear, that looks just like you" pointing to one of the busts on display. Trying to start a conversation I quickly replied with "Oh, I certainly hope not, that's my husband" meaning that her husband and my husband looked nothing alike, so I must have not captured a very good likeness.

I saw instantly by her expression that she took it to mean "I hope to goodness my husband doesn't resemble your husband, he is hideous". I learned it's just as easy to misinterpret what someone says to you as it is for someone else to misinterpret something you say to them.

Heidi,

I agree about the being busy with a painting. I keep a work in progress on my easel at all times. It's not enough to just sit at the easel, it makes a big difference when the brush is in my hand and I seem to be in the process of creating something. This will spark much more interest and curiosity than if you just hang around in the vicinity.

In my situation there is not a steady stream of visitors, particularly in the middle of the week, and at certain times of the day.

This is the front facade of the building where I have my studio.

This is quite a large space with some 125 vendors of mostly upscale home furnishings and interior design stuff for the home. I am the only one doing what I do and I am the only one that actually works the space during the day. All the rest just leave their wares and let the staff transact the sale at the front register.

From the front door the building extends a good ways to our right as this picture shows. My space is on the right where the building makes a slight angle. Just to the right of me is the market restaurant. I am lucky to have the large window to the north.

I thought I might show my inside space. This first shot is of the left side of my space, which is not technically mine (I don't pay for it) but by agreement I am able to use it. The furniture pieces are consignment items. The drawings on the wall are mine as well as the reflected ones in the mirror.

This is my working space. The window between the two walls is about fifteen feet long, hard to photograph with all that back light. Maybe you can make out my new, me at 10, self portrait back on the easel.

This is my competition down the hall. You can either buy this or a head and shoulder oil painting, same dollars. I'm not sure what this thing is but it's sure an eye catcher.

From my public space I put up a flyer inviting anyone to join me for a drawing class on Saturday morning.

I typed up some pearls of wisdom from a couple of my favorite books, Art & Fear by David Bayles and Ted Orland and Harold Speeds The Practice & Science of Drawing .

I had one lady show up. I think she said she was 75. She was very spry for her age and had an admirable curiosity and desire to learn. I did my best to convey some of what I know and she was a real delight for the hour we spent.

We drew a cowboy boot and passed a good time.

Good luck Mike, you are going to do this again right?
I bet you'll have a better response on a weekend that is not a holiday. Even my pre-paid students do not show up on anything even bordering on a holiday.

I have a suggestion also. If you want to teach kids go to the closest school that has the age you'd like to teach. Bring a bunch of flyers and chat up the office staff. They will usually pass them along to teachers and then the teachers to children. Private schools are wonderful for that since those are the parents who can most afford it, (offering a discount to siblings is a great idea also).

Ah, poor Mike. Nice boot tho'

This could be a whole 'nother thread. Art classes that didn't happen. Never mind, you are not the first this has happened to. I once got first grab at a fully set up pottery studio in a school. Only condition on me using it was I had to teach adult classes for free. Not a problem. Put notice in newsletter and the students will come... NOT... I advertised and over a 10 week term at the end of the year I had the odd taker, every so often. Nobody loved me. :(

In the new school year, I advertised again and 35 people turned up for the first session. I was impressed!

I've taught adults and children. If they start at the beginning of the year, it is because they want a new hobby. Towards the end of the year, it is because they want to make Christmas presents (in my opinion). ;)