Public commentary

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.

[Mike McCarty]

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

[Debra Norton]

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

[Marta Prime]

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!

[Mike McCarty]

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."

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.

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.

[Kimberly Dow]

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.

[Mike McCarty]

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?

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.

[Michele Rushworth]

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.

[Kimberly Dow]

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!

[Margaret Port]

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

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.