The Benefits of Teaching One-Day Workshops

Teaching one-day workshops can positively impact your bottom line in a variety of ways. Artists use them not only as a way to earn extra income but also to increase their effectiveness at creating and marketing art. They prefer workshops over other non-art related income producing options because they involve working with art and do not require large commitments in terms of time, energy, preparation, or overhead.

The most immediate and obvious benefit of conducting workshops is that they're a good source of additional income. A single workshop can net anywhere from several hundred to over a thousand dollars. Teach one per month and you can see how the money adds up.

Money is not the only reason for holding workshops, however, and for some artists, not even the primary one. Artist Li Gardiner says that her workshops stimulate her own creative juices, help to relieve artist's block, and give her ideas and inspiration for future work. Being around people creating new types of art for the first time is rewarding for both her and her students. She finds that beginners in particular are not bound by convention and tend to experiment with original techniques and approaches that experienced artists might not think of.

Selling art is another benefit of teaching workshops. As most artists hold them in their studios, they make sure to display a good selection of their art while the events are ongoing. Students not only see this art as the backdrop all the while they're learning, but during the course of their instruction they also find out a bit how it's made and come to understand it on additional levels beyond the visual. As they become familiar with it, they feel less intimidated, more comfortable, and are more inclined to buy it if they like it.

Increasing overall exposure in the arts community also results from workshops. Artists add students' names to their mailing lists for subsequent workshops, shows, and open studios. Students tend to return for shows and as well as additional workshops and often bring friends who they think may be interested in the art or in attending workshops themselves.

Artists who teach other artists in their workshops report that they're great avenues for networking. Participants share information about events, arts organizations, venues for having shows, personal contacts, art techniques, marketing, and good places to purchase supplies. These artists find that by maintaining contact with each other, they're more effective at creating and marketing their art than those who go it alone.

Some enterprising artists further augment workshop income by selling art supplies. Artist Joy-Lily teaches people how to put pictures on fabric using a variety of techniques. She also acts as an agent for a silk screen supply company. Artist Mira Reisberg gives her students the option of bringing their own paints or paying to use hers.

Lastly, workshops are a great way to gain teaching experience and improve your overall ability to talk about your art in public. Over time, they can lead to speaking engagements or appearances as guest or resident artist at schools, colleges, recreational centers, adult or continuing education programs, community centers, and teaching or workshop opportunities in other cities.

People attend one-day workshops for a variety of reasons and often choose according to how the events are portrayed and what's being offered. Many have little or no previous experience with art and merely want to relax, have fun, and explore their creative sides. Some are even scared or intimidated by art and want to confront their fears. Others want to take art up as a hobby but not invest great amounts of time and effort in ongoing programs of study. Trained artists usually attend them in order to acquire new skills or learn specialized techniques outside of their areas of expertise.

One day workshops ordinarily run from four to six hours and cost from $35 to $150. Artists whose workshops are more expensive usually use sliding scales such as $75 to $150 so that people who can't afford the full fare can still attend. Offering payment options is not generally a problem in terms of students taking advantage because they really want to be there and they really want to pay the maximum that they possibly can. Short rest or snack breaks are usually included. Mira Reisberg takes this one step further as she loves to cook and provides a gourmet meal as part of her program. By doing so, she creates a luxurious and nourishing atmosphere in which to learn.

The two most important criteria for successful workshops are that a complete method or technique be taught in the half- to full-day period, and that each student come away with a finished work of art. This gives students a feeling of mastery and accomplishment. Not only have they learned something new, but they also have "diplomas" to show for it. Joy-Lily's students come away with fabric pieces like printed silk scarves, Li Gardiner's students take home collages, Mira Reisberg's students complete paintings or drawings like self-portraits composed entirely out of fruit shapes.

Another central characteristic of workshops as opposed to formal courses of study is that they're less structured and more fun and social. People still learn, but they do so in the relaxed casual settings of artist studios or homes. If you're thinking about conducting a workshop for the first time, don't forget to make it fun. This is one of the great advantages that you have over other forms of art education when it comes to attracting students.

The other big plus of workshops is that participants receive lots of individual attention and support from the teachers. Beginners and hobbyists appreciate the hands-on approach for self-esteem and personal creative growth reasons. Artists appreciate it for professional and technical reasons.

Here are some additional tips for anyone considering putting on a workshop for the first time:

• Decide what you want to teach and plan your agenda ahead of time. Practice in order to make sure that you can accomplish what you want to within a set time period.
  
  
• Advertise that no experience is necessary in order to attend, but also indicate that artists who sign up will be able to learn something new. That way you maximize the number of potential students. A good workshop giver knows how to address a variety of skill levels and makes sure that everyone feels comfortable and accomplishes something.
  
  
• Advertise in places where artists and people who like art congregate. These include bulletin boards or newsletters of arts and artist organizations, your own collector and student mailing lists, word of mouth, recreation centers, arts centers, art schools, cafes, coffee shops, community galleries, performance spaces, and art sites on the internet. Some experienced workshop givers even have their own brochures. And don't forget senior centers. Many retirees have disposable income and are interested in exploring their creative sides.
  
  
• Determine what supplies are needed and whether or not to provide them. If you're just starting out, supplying everything yourself is usually the best option. All students have to do is show up. Just remember to work supply costs into your overall fee.
  
  
• Plan for having three to ten students. Teaching larger numbers is difficult in such a short period of time. You want to make sure that each student gets plenty of individual attention.
  
  
• If your studio space is not adequate for teaching, ask your best collectors whether they can provide you with space. Offer a free workshop, a piece of art, or both in exchange for the favor. Make sure that plenty of your art is on display wherever you hold your workshop.
  
  
• Once you get going, holding regular workshops is the best strategy. One every month to two months is a good frequency. Holding too many cuts into production time for your own art and makes finding new students difficult. You can get out of practice by holding too few as well as give potential students the impression that you're doing this as a lark and may not have the experience necessary to make it rewarding.
  
  If you find that you enjoy teaching workshops, you can also experiment with variations on the theme. For example, you might invite your best collectors to attend at no charge or for a very nominal fee. They can choose either not to participate, watch you create art and teach others how to make it, or they can participate and make art along with you and the others. Ask them what they would like to do or see you do. Collectors often have interesting and workable ideas and are always eager to learn more about the artists who they collect.
  
  Creating art in public places while people watch is another option. Cafes, coffee shops, and some restaurants are particularly suited to this form of "entertainment." Getting paid for doing this is a plus, but because few commercial establishments have experimented with hiring guest artists, you may find that a barter or volunteer arrangement is best for starters. Business owners will be more inclined to pay or barter once they find that your presence positively impacts their bottom line.
  
  Teaching workshops and making art in public brings you closer to people, brings people closer to art, and is great advertising for your art and future workshops. Fears and intimidations that many people have about art often evaporate once they actually see how it's done and get to interact with artists while they're creating or teaching it. And we all know that the more people who feel good about knowing artists, being artistic, and owning art, the more we all benefit.