Archive for January, 2017

My Teaching Philosophy, part 2: The risk of teaching stylistic methods

Sunday, January 15th, 2017

It’s probably safe to say that an artist who is confident enough in his own skills to teach others has most likely developed certain stylistic methods.  Not only do these methods feel comfortable to her, but (presumably) they have served her purposes well.  Because these methods feel “natural,” it’s easy for an artist/teacher to assume that they will feel natural to others and be as successful for them.  But there is a danger in this assumption because it’s rarely true.

Eye of the Moon (#110805w)

Eye of the Moon (#110805w)

What the teacher may overlook is that these methods suit a specific style, which derive from not only mastery of a medium and understanding of artistic principles but from the artist’s internal vision of what she wants to express and how she wants to affect her audience.  No two artists will share exactly the same vision or purpose.  This means that their approaches to the medium will differ, and their implementation of the principles may be quite divergent, as well.

So it’s unwise to impose stylistic methods on other artists.

Yet we can certainly learn from one another, gleaning ideas for methods that can be adapted to suit our own styles. 

So there’s nothing wrong with offering alternative approaches to solving compositional problems or suggestions for alternative methods of paint application, so long as we don’t expect others to do everything exactly our way or emulate our style.  Instead, these alternatives should be offered primarily for purposes of adaptation to suit each artist’s individual conceptual needs.

My Teaching Philosophy, part 1: Teaching techniques

Sunday, January 1st, 2017

As we enter the new year and I look forward to another opportunity to teach, I am reminded that lessons I teach must be clearly focused.  As a working artist, there is a strong temptation to try to cover too much ground too quickly, and even to influence beginning artists inappropriately to adopt certain stylistic methods before students have had a chance to discover their own style.

Aside from art history, the study of painting includes technique (handling of a specific medium and the implements used to apply and control it), artistic principles (how optimal results can be achieved through design, color, and use of the medium), and development of style (the method of integrating techniques and principles in a way that expresses the artist’s unique vision and concept).

A related and overlapping form of teaching is that of coaching, which is less structured while (optimally) encouraging and guiding the student’s efforts, offering constructive critiques, suggestions, guidance, and alternatives to be explored.

My beginning watercolor classes focus on technique.  This allows beginners to learn what to expect from the paper as well as the paints, how water and pigments interact with one another, how flow can be encouraged or controlled, how edges can be adjusted to create specific effects, how differently shaped brushes can be manipulated to achieve a variety of marks, and so on.  munsell-colors-croppedThrough a series of exercises students begin to develop confidence in their knowledge and understanding of the medium and in their control over its application.  They learn how to avoid or minimize common difficulties that arise, and how to respond when the paint doesn’t behave quite as they originally intended.  This increasing confidence allows them the freedom to play and enjoy their further exploratory efforts as they continue to learn. img_1666-croppedFollowing the instruction portion of each class I also incorporate individualized coaching while students are applying the lesson.  I feel that this is an important component of teaching to help my students develop independence and self-confidence as their artistic understanding and skills increase.