Notes

Lindly Haunani Teaching 101 – tips, insight and musings….

1.  Consider why you want to teach polymer clay workshops, be honest with yourself and write down the pros and cons of making the decision to continue or begin teaching workshops. Here are a few possible considerations:

a) I live in an area where there aren’t many polymer clay artists and I would like to increase the number of enthusiasts, identify kindred spirits and establish a guild, critique group, retreat, share ideas….?

b) I LOVE teaching and as a natural extension of this interest I would like to teach others the incredible possibilities inherent in polymer clay, the rewards of empowering others far outweighs my desires to establish myself as the “expert” in regards to a certain aspect of working with the clay

c) I would like to supplement my income by teaching polymer clay workshops and despite the considerable opportunities for tax deductible expenses realize I may propel myself into another tax bracket due to increased gross income.

d) I am outgoing, gregarious and extroverted and gain power from positive group interactions

e) I am flexible, curious and enjoy solving challenges in the moment- i.e. misplaced supplies, mal-functioning ovens, students delayed by traffic, rescheduled plane departures…and the inherent magic of traveling and meeting the exact perfect person to help illuminate my current life

f) The manager of the local bead shop keeps asking me to teach a polymer clay bead workshop

g) I’ve developed a unique and exciting polymer clay technique that I would like to share with others.

h) There are probably a thousand other reasons- the important thing is to be clear about YOUR intentions and expectations.

2. What is your preferred presentation style in terms of comfort and belief? Fish or fishing?

 For example: personally if you were exploring a new medium say needlepoint…would you start with a pattern with all the needed yarns included in the kit? Or would you peruse a couple of books, study the yarn estimate charts, buy a blank canvas, pick yarn colors you liked and just start stitching? 

Both are legitimate approaches and each has a time and a place. But the answer to this question has an important impact on just what venues you choose to teach in.

As a student would you prefer to be given all the instructions, the exact proportions of clay and how to mix all the colors – to make a satisfying completed project within the time frame of a workshop? …even though what you made it is almost exactly identical to everyone else’s in the class?

Or? Would you prefer as a student to be presented with a concept, several alternative techniques and be challenged to complete your own design that includes several optional design decisions to execute a sample, work in progress and/or future design spark?

How does your personal learning style impact your teaching style? Would you feel more comfortable enabling everyone to complete a successful project or fostering the sense of possibility/confidence for future endeavors?

Sometimes I feel like I’m bucking the tide…in that I strive to incorporate lessons of color confidence, technical nuance and personalized explorations within the majority of the workshops I teach. The onus is always there in my mind (perhaps inaccurately projected) … you spent an entire weekend and made what? Rather than in an entire weekend YOU learned how to solve this artistic challenge!!! To me teaching others how to fish is the ultimate lesson.

Certainly, I do teach shorter classes where the ultimate design is to include fishing tips while encouraging and imparting the JOY of success in a completed, personalized, guided project.

3. What are you going to teach?  Clarifying and identifying a personal specialty will help you decide where, when and how you will be teaching.

Are you going to teach introductory classes? Or would you prefer to teach artists with previous experience working with polymer clay? What are your areas of expertise; sculpture, dolls, beads, caning, jewelry design, inspiring creativity or?

Several things that you probably shouldn’t be teaching =

a) Another artist’s workshop that you have taken, unless of course you have significantly improved upon or innovated different approaches to the technique and/or put your own personal spin on the process including the timing design of the class.

b) A project that was presented in a magazine or a book- especially if your class sample, project demonstrated and techniques don’t vary significantly from that other artist’s vision

c) How to make your production pieces or signature work…unless you are prepared to have other artist’s re-interpret your designs. Personally I would be offended and dismayed if I took a workshop and then had to sign a two page legal document promising never to make anything similar again.

4. Time frame/venue

Obviously the design of a two hour “make it and take it” is going to be vastly different than a week long intensive. Each type of workshop has different advantages.

 In shorter sessions (less than a day) you have the opportunity to present a concept or simplified version of one technique, while striving to ensure “success” by managing the amount of decisions the participants need to make. Since I strive to include a color “lesson’ within each workshop I teach- for shorter classes I may prepare some of the clay in advance for the students (and demonstrate how the preparation has been done to augment the class selection)- for others we start with a rainbow Skinner blend and then use that to make the necessary components. If it takes you one hour to make something, you should plan on that taking three hours of class time.

In designing weekend workshops I plan on six “units” to fit into the time frame = introduction including an icebreaker, four steps/techniques which may include one or more demo sessions and closure. Depending on the group I may juggle the end of the first day, so everyone leaves excited about returning for the second day rather than worrying whether they will remember the details from the end of the day demo.

Longer workshops, week long, offer many more opportunities for exploring things at a more leisurely pace. Assigning “homework’ as in suggested reading and/or specific preparation can be advantageous to all the participants as it establishes a common ground for group discussions. One of my favorite openers for a week long workshop is to ask the participants to prepare an 18”x 24” story board. The instructions are simple, to assemble a collection of  pictures, swatches, postcards, images of artist’s who inspire them and anything else they can paste, tack or affix to a piece of  foam core. While, this sometimes creates pre-workshop anxiety, despite my warnings that this is not designed to be something to be hung in a gallery- this is an excellent way to help the participants bond as a group. Commonalities emerge early on in the workshop- for example” three people have the same breed dog, or enjoy the same quilt artist or painted there dining room the same color or are fascinated by paste paper…

For a week long workshop, I usually plan on presenting a workshop that normally is done as a weekend and then making the individual project more involved and budgeting time for creative problem solving and group brainstorming.

 There are many different types of venues for teaching opportunities and each has its advantages.

a) Experience = teaching a class at your local church or bead shop is an excellent opportunity to gain experience teaching a class. You may even want to volunteer to teach a class for your local guild or at a polymer clay retreat. While each experience is unique- this will enable you to explore/hone the timing of the class, improve your demonstration skills and learn which aspects the students find the most challenging.

b) Exposure = I include teaching at commercial bead show in this category. While not all of them offer the same compensation, one Nationally know show charges the students $150/ per day, allows for a small profit on supply kits and then pays the  teachers $44/per person/day…. add in no minimum guarantee, hotel room, eating out, airfare, airport shuttle, preparation time, cost of photographs, time preparing proposal, tips… you get the idea- as in this may be a way to subsidize you visit to this show and/or find other groups hat are interested in sponsoring a workshop.

c) Honorarium= I have to laugh about this one, as in the beginning of the National Polymer Clay Guild, 1990, many people felt that it would be a sign that Polymer Clay had “made it” if it was featured at one of the Nationally known residential Craft programs – ex. Penland, Arrowmont, Archie Campbell or Haystack…honorarium often equates with not enough to require the sponsoring organization to file a 1099 aka some of your expenses for a working vacation are covered. Sometimes the opportunity to teach a group of committed artists and experience a campus where multiple subjects are being presented out weighs the financial disadvantages.

d) Great Venues = Workshops sponsored by local Polymer Clay Guilds are some of the most lucrative teaching opportunities for polymer clay artists. Most often you set your own rates, minimum attendance numbers and enjoy an enthusiastic and supportive audience.

e) Art Schools = Many Colleges and Universities sponsor summer learning programs and these can be excellent teaching opportunities.

f) Create Your Own = perhaps there is a classroom for rent in your community club house or local library? If you decide to use your home studio, check with your insurance agent beforehand

5. Be aware of Your venue = here I tell palmistry story

6. Be clear with your expectations= Do you expect someone to pick you up from the airport? Would you rather stay at a local bed and breakfast, Embassy Suites or be provided a home stay? Are you allergic to animals, a vegetarian, need time by yourself, prefer coffee in the morning with caffeine? Expect to be paid on site or within two weeks of the event?  Do your travel expenses include the shuttle bus to the airport? How much notice do you need to make advance plane reservations? Purchase supplies? Cancel the workshop? Arrive on site to set up?

7. Have it in Writing= Contracts yours and/or theirs?

8. Double check the details= Has the information been posted on their web site? Is the supply list correct? Have you packed everything?

9. Supply lists vs. Materials fees

Yes, you are entitled to enfold your preparation time into the cost of assembling a supply kit, but five dollars for a piece of sandpaper sets the wrong tone.

85% of the participants will NOT condition their clay in advance of the workshop- either allow time for clay prep or select a clay that needs less time.

Are you prepared to pace the workshop when someone shows up with eight year old FIMO that was stored in the RV in the dessert?

Sometimes it is worth the time to assemble all the materials, tools, findings and supplies into a reasonably priced supply kit.

Exercise caution in asking participants to bring tools and materials that may not be used. Here I tell story of  fifty item supply list that cost nearly $100 and required extensive research and search on part of participants- which of course became the legend of that teacher’s (to be unnamed)  polymer clay teaching experience

10. Setting up… setting the tone

11. Break the Ice

12. Pace and Passion= demonstrating styles

Tell them what you are going to do, show them what you are going to do, tell them what you just did?

13. Special Effects aka special students

14. Closure – Thank You Maureen Carlson

15. Following up = Monday morning quarterbacking, student surveys, evaluation forms, email list and thank you notes.

SAMPLE Contact email with possible sponsoring organization (Yes I will be teaching in Tuscon in 2009!)

Lindly Haunani
Studio #30
7630 Tomlinson Ave.
Cabin John,MD 20818

301 263-0272
240 274-4691

LindlyHaunani.com
Lindly.wordpress.com
lindlyh@aol.com

Here is the two day workshop that I would recommend. While prior experience working with polymer clay is useful, this provides a comprehensive introduction to working with the material and strategies for mixing colors and combining colors that can be translated to other mediums.

Attached = four possible images for publicity, two are web size jpg files and two are higher resolution tiff files for your print catalogue.

Textile Inspirations in Polymer Clay/
Combining Colors with Confidence
Two day workshop
Lindly Haunani
All Skill levels
Materials fee: $20/person

Join Lindly Haunani, a nationally recognized colorist for a fun and illuminating weekend workshop. While you may know just what colors you like, exactly how to mix them (or not), using them in harmonious combinations can be challenging. Learn how to add impact to your work with increased color confidence while learning the basics of working with polymer clay.

 You will learn strategies for designing and mixing cohesive color schemes, including how to choose a level of saturation within your comfort zone. You will learn the secret to making successful “skinny” skinners that will be used to make nine different laminated textile patterns including the popular Log Cabin Quilt design, Spirals, Seminole Patchwork, Bargello and a variation of Nine Patch.  In addition to having fun, you will leave with a series of wearable color samples/brooches. You will increase your awareness of how appropriate color choices and contrasts can add impact to your work.

See how the three properties of color: value, hue and saturation dazzle and change when proportion, juxtaposition and surface are consciously adjusted. Ask questions, be ready to laugh and increase your color confidence.
About Lindly

Lindly Haunani has over seventeen years of experience as a polymer clay workshop leader. Her work has appeared in over fifty Invitational and juried shows. She is one of the founding members of the National Polymer Clay Guild and has a BFA from Carnegie Mellon in Pittsburg, PA.

When not fantasizing about being a food stylist, a stand-up comic or a fabric designer…she can be found traveling around the country to teach workshops while belly laughing. She is best known for her sensitive use of color and gentle and empowering teaching style.

Teaching Contract Information

I enjoy traveling to teach polymer clay workshop and have been doing so for the past seventeen years.

My rate for teaching is 120/two -days/person with a ten person minimum. I prefer a class size or 14-18 participants. Should more than 16 people register then there is space for an anonymous unpaid, scholarship person that will be expected to help with baking and passing out materials.

Teaching rate= 120 per person for two day workshop
Travel Expenses= advance purchase coach class airfare plus $45 for airport shuttle.

Confirmation that minimum has been met =at least four weeks prior to workshop (to insure best travel rates)

Minimum of one month prior to the workshop I will need a shipping address to ship supplies.

Minimum= ten paid registrants plus comped home stay person
Scholarship = 16 paid registrants, one comp and one scholarship
Maximum= 20 participants
Schedule= 10:00am- 5pm both days

Materials fee: Includes ample polymer clay in a selection of pigment primaries, jewelry findings, slicing blades and handout.

Since your group is not a polymer clay group I will bring four pasta machines for the class to share, work surfaces for everyone, tools and clay cutters.

Should any of the students wish to purchase their own pasta machine prior to the workshop I highly recommend that they buy an Atlas (Italian) brand pasta machine; these are available at cooking stores and online for Polymerclayexpress.com. In general the pasta machines currently being sold at Michael’s and Hobby Lobby are quite unreliable and easily broken.

Available Dates in 2009

Saturday March 26th & Sunday March 27th, 2009
Saturday April 25th & Sunday April 26th, 2009

Classroom details

The classroom space needs to be clean, well lit and ventilated. Each student will need a work area 36 x 24 inches. In addition to a table for demonstrating, I will need three separate tables or counters for display, shared tools and demo samples.

Unless I am bring the baking equipment (this is NOT an option if I am flying in), we will need one large convection ovens and/ two toaster ovens with appropriate thermometers= separate oven thermometers, extension cords and an exhaust fan (or way to ventilate the room). If portable ovens are not available a regular kitchen oven can be used with the addition of four large aluminum foil turkey baking pans aprox. 16” by 12” and a dozen large office supply clips to fasten the two halves of the baking pans together and keep oven clean.It may be possible to borrow baking equipment and pasta machines from the Tucson Polymer Clay Guild 

Wrapping the table tops wit butcher paper is not necessary, but provides for a clean visual field for the participating artists.  Access to a white board or blackboard is useful.

The timing for the lunch break will be determined by the location- nearby carry-out? and the flow of  the workshop. I will need a pitcher or bottle of water to drink throughout the workshop.

I am flexible as to accommodations, whatever works best for your group, whether it is a room in a modest hotel near the workshop or a home stay. I am an omnivore who eats very lightly for breakfast –caffeinated coffee is a must and I am fond of light beer. I am not allergic to animals.  I have been known to snore loudly and vacillate between being a smoker and a non-smoker.

Workshop Student Supply List

Notebook
Pencil or Pen for taking notes
Optional: If you have worked with polymer clay before or know someone to borrow a pasta machine (dedicated to polymer clay) please feel free to do so.