Quinn McDonald's Blog, page 92

Choosing Change

Caterpillar ready to spin a chrysalis.

The caterpillar is programmed by its DNA to spin a cocoon and emerge a butterfly. In the process, the caterpillar turns to undifferentiated goo and then reforms as a butterfly. No one knows if the caterpillar is aware of what happens during the process.

People are different. We don’t know how to spin a cocoon, and we would be scared if we could. Yet we can choose transformation. It is hard, making the choice to change. It means we deliberately give up one thing to choose another. It means we risk losing friends who don’t want to get to know us all over again in our new forms.

But some of us do choose. We choose to move to a new place and start a life over. We choose to forgive bad parenting, and accept what we did get, and thrive despite of it.

Transformation begins

That transformation is as amazing as a caterpillar’s. For all of us who have survived, who have chosen to heal ourselves, to mother ourselves, to keep going no matter how hard, we have chosen a life of growth and transformation.

We know change is possible and sustainable. Sometimes it’s a secret. Sometimes we reinvent ourselves several times. We can be more than one person over a lifetime. We can change our life.

We have a choice.

 

–Quinn McDonald witnesses transformations as a coach. She celebrates change.

Images: top: Obsession with butterflies. Bottom: restoring the landscape.com

Filed under: Coaching Tagged: change, new life, transformation

Flying by the Motorcycle

Standing in the garage tonight, I looked longingly at my motorcycle. It’s too hot to ride right now. I can feel the heat of the pavement through my boots, and the air that pushes through my protective jacket is furnace-hot. But I thought lovingly of the next time I will be out on the bike, feel the air rushing by. . . and get hit by a piece of trash someone throws out of their car window.

Fire-started cigarette about to bounce on the street. From Care2.com

A lot of people in Arizona smoke, and when they are done with the cigarette, it goes out the window. Fire danger be damned, they can’t put it out in the car because ashtrays are now plastic and meant for coins. A cigarette butt comes out of windows on either side of the car,  trailing embers.  You can see it bouncing in the air stream, and you flinch when it smacks your face shield, drops in your lap and burns through your jeans.  Good thing I wear gloves when riding the bike; although the drivers who watched me slapping at my crotch must wonder why a motorcyclist behaves this way.

Cigarette butts are the least of what I see–and sometimes wear–when people throw them out of car windows. I learned a long time ago that washable clothing is a must when you are riding.

Coffee, with and without cream or sugar, in cups from Starbucks and Dunkin

There’s a road under there somewhere.

Donuts come flying out of passenger and drivers’ windows. So do Big Gulps, Slushees, ice cream cones. Food at 65 miles an hour is surprisingly hard. PB&Js leave a bruise at that speed. And that’s just the food. There are paper cups, napkins, whole bags of fast-food leftovers. Never money, though.

Seldom books, but often magazines, and once a baby diaper–used– and I was lucky to dodge that one. But I couldn’t miss the stuffed animal, shoe or hairbrush. Luckily, the T-shirt, beer bottle and teething ring weren’t close enough to cause damage. And the rope, sneaker and grocery bag with something in it were throw out of cars on the other side of the road.

When I tell people I ride a bike, most people tell me how we scare them because we stop too fast or they can’t see us. Maybe because they are throwing trash out the window.

–Quinn McDonald is a creativity coach who bobs and weaves her way down Arizona highways on her motorcycle.

Filed under: Bike Creativity, In My Life Tagged: littering, motorcycle riding, throwing trash out of cars, trash

In-Person Classes: Fall, 2013 and Beyond

It’s going to be a busy fall–thanks for nudging me to teach locally, and thanks for inviting me to teach where you are!  Any of the classes below that aren’t close enough to you can be taught at your location (or home if you gather five or so people)–contact me for details. (Contact information is directly over the photo at the top right of this page.)

Four in-person classes in Phoenix, at the Shemer Art Center.

For prices and to register call (602) 262-4727

Location: 5005 East Camelback Road  Phoenix, AZ 85018

1. Monsoon Papers

Date: October 19 (Friday)

Time: 9 a.m to 3 p.m

Monsoon papers are papers surface decorated with ink and a deliberate surrender of control. I made the first ones during the hard rains of Phoenix’s Monsoon Season, and later adapted the technique for studio use.  The papers are suitable for use in journals, book covers, cards and other paper arts. In class, you will receive 2 pieces of Arches Velin (apprx. 25” x 12”) to work with. Both sides of the papers are worked with ink. Choose to add iridescent glaze or gold spatter.  You will be shown how to use resists and make an accordion folder for cards or journal pages. No previous experience needed. Materials fee: $10

2. Wild Cards and Unleashed Postcards

Date: November 10, 2012 (Saturday)

Time: 9 a.m. to 3 p.m

Maybe you’ve made cards with kits, with rubber stamps and glitter. Now unleash your inner wild child, throw out the kits and make cards and postcards with collage, decorative tapes and papers, paint and innovative techniques. You’ll start by learning some graphic design guidelines and then move on to experimenting with colors and textures, integrate mistakes into design and create cards with color and flair. Design cards for the holidays or for everyday use. Materials fee: $10

3. Layers, Colors, and Textures with Stencils and Design

 Date: December 8, 2012 (Saturday)

Time: 9 a.m. to 3 p.m.

Hand-decorated papers are not only practical, but also fun to make and a gift in themselves. You’ll make papers to use for wrapping special presents, journaling, book and paper arts use. You will use simple design techniques using stencils and building layers of color on different types of surfaces, from newsprint to fabric. You’ll use fun stencils (both temporary and plastic) to create patterns in the layers. The patterns will be abstract and non-repeat, so you can use every inch of papers without worrying about matching a pattern. There will be fabric surface decoration, too–the green way to wrap! Materials fee: $10

Rice paper collection from Lark Press.

4. Deeply Colored Paste Paper Surface Design

Date: December 15, 2012 (Saturday)

Time: 9 a.m. to 3 p.m.

Paste paper is an ancient and traditional surface design treatment for paper. You’ll mix basic paste base and add colors of your choice. Then, using special tools (or your fingers), you’ll create swirls, sweeps, pulls or dots on the surface of the paste/paint. Once dry, the patterns become permanent. Use the papers for photo mats, art projects, bookmarks, portfolios, cards and other paper arts applications. Material fee: $10

All of the above classes are at the Shemer Art Center. For prices and to register call (602) 262-4727  Location: 5005 East Camelback Road  Phoenix, AZ 85018

* * * * *

Two classes In Tucson, through Paper Works, the Sonoran Collective of Paper and Book Artists. While these classes are for Paper Works members, a year’s membership will cost you just $35.

1. One Sentence Journaling: Does having a journal sound more appealing than writing in one every day? You aren’t alone, and this workshop was designed to help you keep a journal by writing one sentence a day. A daily writing practice creates a GPS system for your inner journey—it helps you figure out where you are and how to get where you want to be. Using exercises including “magic words” and “17 syllables” you will see the power of writing just one sentence.  Explore the possibilities of one meaningful sentence when you write with awareness, intensity and all your senses

When: Thursday, December 6, 1 p.m. to 4 p.m.

Where: University of Arizona Modular Classroom, 4101 N. Campbell  Ave. Tucson 85719

Cost: $60

2. Monsoon Papers. (While these classes are for Paper Works members, a year’s membership will cost you just $35.)

Date: Saturday, January 26 10am – 4pm

Location: U Of A Modular Classroom

4101 N. Campbell Avenue  Tucson, AZ  85719

Cost: $100 plus Material Fee $5

Originally created in our monsoon storms, this wild surface decoration technique is fail-proof. Pieces of paper transformed with inks and gilding into dark, rich colors or bright, intense ones. It’s messy and unpredictable, so leave your controlling urges at the door—and be surprised at how the paper develops! Use your papers for folders, book projects, constructions, collage.

* * *

July 22-26 2013 at Madeline Island, Wisconsin

Magic and Metaphor: Mixed Media Conversations With Your Inner Critric.

An amazing art retreat in Lake Superior that covers deep writing and intuitive art. What will you do for five days? Join a class of creative explorers and confront your inner critic.

Full Description: Your inner critic squawks about lack and attack while you chase it out of your studio. It always returns, and you lose deep creative time patrolling the edges of your consciousness to keep the inner critic at bay.

Through deep journaling and intuitive art, this class will help you develop inner advocates with strengths and powers to challenge the inner critic to a real conversation. Maybe the inner critic has a point that’s useful. Maybe not. Now you’ll know.

You will develop a series of cards with art on one side and writing on the other. The cards can be used for brainstorming, creative discussions, idea selection and swaps. You’ll use guided visualization, deep journaling, appreciative inquiry, and spontaneous association for writing and bricollage, ink-as-paint, resist techniques, and found poetry as artwork.

You will also make Monsoon Papers, Quinn McDonald’s technique for surface decoration on sheets of paper to use as folders and envelopes for your cards.

No art experience is necessary. Journaling experience is helpful, but not required.

Cost: $425 for five days. Price includes accommodations and meals.

Register online  or Contact: Jenna J. Erickson, Director of Programs

Madeline Island School of the Arts

978 Middle Road,  La Pointe, WI 54850

715-747-2054

Classroom and comfortable accommodations on Madeline Island. Registration can be held for $85.

Filed under: Journal Pages, The Writing Life Tagged: creativity coaching, in person classes, journaling classes, Quinn McDonald

Art Graf Stick (Viarco): Review

Viarco is a family-owned Portuguese art supply company. They make the highly-water-soluble graphite stick called Art Graf Stick. It may be my best impulse purchase of the summer.

Viarco makes the graphite stick.

I’ve used graphite for reductive drawings, and I’ve used liquid graphite, only to discover that it is not my medium. The Art Graf Stick  is interesting, easy to use, and fun. I tried it on watercolor paper and Bristol board, both with good results.

Because of its water-solubility, it lays down a love gray wash, smooth and even. A gradient is easy to lay down if you keep enough water on the surface of the paper.

Gradient wash made with Art Graf Stick

Because of its elongated square shape (9 cm long), it can cover a large surface quickly. But you can also use a corner or an edge to draw with.

It’s soft enough so that harder pressure leaves a thicker line. When the line is blended with water  and a brush, the lines flow together. The more water, the lighter the gray. Once dry, re-wetting doesn’t pick up the color like watercolor. Once the color is down, it’s staying there.

I made the painting above by using a wet #4 Teklon watercolor brush stroked against the blunt surface of the graphite stick. To make the shades of gray, I picked up water or blotted on a blank sheet. And I sketched the under-drawing with the stick as well.

The stick can be erased prior to wetting. After the wet portion dries, an eraser picks up some color, but you’ll need an electric eraser (I paid $7 for mine) to make all the graphite disappear.

The stick is versatile and for those of you who love black and white tonal shades, it’s great to work with.

Disclosure: I purchased the stick at Arizona Art Supply.

Filed under: Creativity, Product Review, Reviews Tagged: Art Graf Stick, graphite, sketch, Viarco, watercolor

The Blue Hour (L’Heure Bleu)

As late afternoon fades into twilight, there is a time of day that is neither light nor dark, too early for stars and too late for coffee. Richard Guerlain, the house nose, named a perfume for that time in Paris when the city holds it breath, before the lights dance on the Seine. For years, L’Heure Bleue was Catherine Deneuve’s signature fragrance. It was heady, romantic, and plush, like the suspended time it was named for.

Paris, L’heure bleue by http://www.peacham.com

There is something about that time of day that makes me both melancholy and fearful. It has done so since before I knew what either of those words meant. As a child, we played outside most of the day, but as the sun began to drop below the horizon, I headed indoors as fearful as Cinderella at midnight.

I’d see the lights begin to come on in the houses around me and I’d long to be indoors, in the light and warmth. Even in summer, when indoors was hot and close, I’d prefer it to being outside at that time of day. There are no bad memories associated with that time of day, no dreaded secrets, I just dislike those hours.

My grandmother died largely unknown to me, but I remember clearly that she, too, didn’t like this time of day. Did not find it magical or enchanting. She would draw the heavy curtains against that half light, saying she couldn’t stand the quality of daylight.

It’s not the quality of light for me, as I love the pre-dawn hour with the same uncertainty of light. I’m not afraid of the dark, and often walk late at night. So I was particularly surprised at coffee when my friend said, “I don’t know how you can get up and walk before dawn.” Before I could explain about the metallic quality of the sun early in the day, she said, “that time of day gives me the creeps.” She couldn’t explain why she hated it, just that she did. She has that same despairing, washed-away-from-short feeling.

Is there a time of day you dread? Do you know why? Share.

—Quinn McDonald is a writer and raw-art journal keeper. You’d think the time work is over would be longed for, but no, it’s a time that she needs to keep herself busy and occupied.

 

Filed under: Creativity, In My Life Tagged: depression, dusk, melancholy, twilight

Saturday Round-Up

Just in case you missed these over the years–some old favorites for a lazy Saturday.

1. Food first! It’s cherry time again, so if you want them in puff pastry or chocolate covered, enjoy yourself.

2. Last year, I was in a bookstore when I saw someone buy my book, Raw Art Journaling. She was a perfectionist, and I offered to sign the book.

3. College students making art postcards–spray ink and maps. What a great combination! (Do it with your kids or grandkids–it’s easy).

4. Reductive drawing–start with a page covered with charcoal, erase to create an image. Fun. If you mess up, just add more charcoal.

Enjoy your weekend!

–Quinn McDonald has been blogging for about five years. That’s a lot of blogs.

Filed under: Creativity, The Writing Life Tagged: cherries, perfectionists, reductive drawing

The (Broken) Idea Machine

You might as well know it. I’m stuck. Yep, the coach is stuck. Actually, I wouldn’t trust a coach who has never been stuck, frustrated, and angry. Just like I wouldn’t trust a creativity coach who has never worked on, struggled with, and solved creative problems. If you haven’t failed, you haven’t tried hard enough. If you haven’t screwed up, you haven’t risked enough.

Forest. . .

So, what’s my problem? I’m not sure. I think it was too much forest-gazing and not enough tree focus. In other words, I’m swamped by ideas about the book, which is keeping me from writing.

Here’s how I am working on getting out of my own way. I went to the studio, grabbed a pack of index cards, and wrote one idea per card. The outline of the book is complete and approved, so it’s not the structure of the book, it’s thinking of related classes, activities, marketing ideas, and specific examples for the book.

For as long as I had ideas, each one got scribbled on a card and thrown over my

. . . tree

back. That way I couldn’t be panicked by the variety of unruly ideas, and could clear them from my head.

After about an hour, I turned around and saw the index cards all over the studio–on the floor, on the shelves, on the stack of books. I did not read them. I picked them up, without sorting them, and tied them with a pretty ribbon. They are safe until I am ready for them.

Now I have to get busy writing with a clear mind.

–-Quinn McDonald can drive herself crazy with or without permission. When a client calls in an state of overwhelment (I know, but it should be a word), she can draw the map, which is a good thing, although it rarely feels that way.

Filed under: Coaching, The Writing Life Tagged: creativity coaching, writers block

The Heavy Responsibility of Perfection

What causes most people to quit a new habit? The same thing that causes most people to abandon their New Year’s resolutions.

This tree got in the habit of leaning on the wall and then made the most of it.

It’s not that the goals are too lofty (unless made in a hurry under the influence of drink or peer pressure), but the mistaken belief that one misstep “ruins it all.” It doesn’t. One misstep, one missed day, one incomplete page is just that–an imperfection. It doesn’t invalidate the intention or the goal. It can reinforce your determination, if you let it.

One missed day, one misstep, does, however, make it easier to add another missed day to the stack. It’s easy to let your determination erode. At that second,   self discipline comes in. If you skip a day of a new habit, be aware of it, be conscious, make it a deliberate choice, not just a shrug and a skip. And the next day, make it a choice to return.

Change doesn’t happen all at once. Change happens when we replace one action with another. And the more often the replacement happens, the more likely we are to repeat, until we have a new habit. In an email I received, someone insisted that if they forgot one day, they would have to “start over,” they added, “with nothing.” I know that’s how AA does the counting, but I don’t think that’s true with journaling, or meditation, or compassion. You have something. You have begun to walk down a path. You are exploring your motives and excuses. That’s not nothing. That’s already part of the journey.

Of course, if you want something positive to happen, you will have to kick yourself occasionally to keep doing it, and you will have to do the work, but you will always do your work imperfectly, because that is the reason we keep learning–every imperfection is a chance to learn something new.

—Quinn McDonald is a recovering perfectionist. Most of the time she lets go, but then sometimes, there is the death grip on needing perfection validation. So she has a way to go.

Filed under: Recovering Perfectionists Tagged: creativity coach, overwhelmed, perfection, perfectionist

Book Review: The Textile Artist’s Studio Handbook

Yes, I’m giving away my review copy. All you have to do is leave a comment and tell me you want it. You can say why, but since the drawing is totally random, you don’t need to make up clever reasons. Except it’s much cooler if you do.

This review is entirely my opinion, based on my subjective approach to reading a book. Your opinion may vary. That’s fine.

Title:  The Textile Artist’s Studio Handbook

Subtitle: Learn Traditional and Contemporary Techniques for Working with Fiber, Including Weaving, Knitting, Dyeing, Painting and More. Price: $24.99

Authors: Owyn Ruck and Visnja Popovic

Details: Quarry Books, 176 pages (including index), soft cover

Content: Nine chapters of technique how-tos, and how to set up a textile studio.

Part I: Building a Home Textile Studio

Planning the Layout
Fiber Basics (natural and man-made fibers)

Part II: Creating Textiles in a Home Studio

Spinning, Knitting, and Crochet
Weaving
Printing
Dyeing
Sewing, Quilting,and Appliqué
Needlework

What I like about the book:

The book carefully covers, in a serious, professional manner, a large amount of information for the beginner and intermediate textile artist. There are tips throughout the book as well as photographs that show techniques in step by step. The book is well organized and well-written.

The steps are numbered and the photos lettered, and the numbered steps include the letters for the photos. This makes it easy to compare the text and photo part. Good idea for both visual and reading learners.

There are illustrations of specialty tools with the correct name. I now know the difference between a niddy-noddy and a raddle.

There are projects throughout the book, but not one for each topic. Once you’ve read about weaving, for example, you can learn how to make, in exacting detail, woven placemats.

There are technique projects throughout the book: how to space dye, how to mend a tear with reverse appliqué.

What I don’t like about the book:

In the introduction the authors say, “Our wish is to provide you with a foundation upon which to grow.It is our hope that you will feel inspired to set up your own studio, get your hands dirty, and learn through the exploration and understanding of the fundamental principles of textiles.” So if you are exploring a choice of art/hobby/craft to pursue, this book will give you enough information to choose a textile hobby. Fair enough.

If that’s true, I want mouth-watering, big, incredibly gorgeous photos throughout the book. And while there is a gallery, there are five and seven photos on some of the gallery pages, and that’s too small to be mouth-watering.

Overall, the layout is practical more than inspiring. This may not bother most people, but I would have liked to see a better flow throughout the book. If you see it as a textbook, however, it makes it easier to understand the layout.

The section on weaving is about 33 pages long; the section on quilting (which includes a brief history of quilting and how to appliqué) is two pages long. Of course the authors can choose how to curate the book, and yes, there are length restrictions, not everyone will choose to emphasize the same thing, but I would have liked to see a little more information on art quilting, and free-form stitching.

Some instructions have photos with great contrast between the surface or background and the yarn. Felting for example. And how to finish a skein of yarn into a smooth braid, ready for use.That’s good.

On the other hand, both the knitting and crocheting how-to photographs use beige yarn on a beige hand against a beige background, with gray or beige needles. And the photos are slightly smaller than an inch-and-a-half per side. I’d like to see more contrast and more close ups.

The illustration for block printing could have used a more interesting example.

I found what every author hopes will never happen, a typo. It doesn’t disrupt the information, and it’s easy to understand what it should be. So it doesn’t matter. Why am I mentioning it? Because I want to say, as an author and a reviewer, that some typos matter and some don’t. This one doesn’t.

Overall: The book covers a lot of techniques and a lot of interesting material. I’d recommend it for someone wanting a general overview of various textile techniques, or someone curious how to set up a textile studio. For people already interested in textiles, it provides facts and how-to’s on several techniques, some of them in depth: weaving, block printing and dyeing, for example.

Full disclosure statement: A publicist for the book asked if I’d like a review copy; I did not pay for the book. I am not keeping the book; leave a comment that you want the book, and I’ll hold a drawing on Friday evening (Aug. 3, 2012)  to give it away. The winner will be announced in this space.

—Quinn McDonald is a writer who likes to read. She is working on her next book: The Hero’s Art Journal: Mixed Media Messages to the Inner Critic.

Filed under: Book Reviews Tagged: textile artist, Textile book review, textile studio

Before You Teach (Art or Anything Else)

You’ve been accepted to teach at an art retreat–Congratulations!  Your ideas are fresh, you can’t wait to demo this new technique, so you are all set, right? Not so fast. Even if you have done demos and taught small groups, an art retreat is a different thing entirely. Here are some tips to make the experience good for you and for your class.

Plan Before You Apply to a Retreat

An idea and a way to teach it are the most important part of applying to a show. Right after that comes the business side of teaching–how much money do you need to charge to make a profit? If you think you don’t need to make a profit, you are just doing this because you love it, then please feel a kinship with the many artists who make a living teaching. When you don’t care what you charge, you automatically drop all art teachers’ incomes, and relegate artists to the bottom of the income heap. Some questions to consider when pricing:

What do participants need to complete your course?
How much will you provide? (for free)
What do you expect them to bring?
Do you need to provide a kit?
How much does each kit cost you? (This is hard to figure, but important)
How long does it take to assemble the kits (time is money in all of America, including your studio)
How long did it take you to design the class?
How many times can you teach this class (the more you can teach, the bigger the base to spread the cost)
What does the class cost you? That money is gone. How much profit do you need?
The best way to control how much you earn is setting a minimum number of people in the class.
Set a maximum number, too. There is a number over which you are not teaching, you are amusing a crowd. Don’t cross that line.

Teaching Art at Key Stages by Nigel Meager

Read and Ask Before You Accept the Contract

Don’t get so excited that you sign the contract without reading it. You’ll need to know

How many hours are you expected to teach? What time of day (if you are a morning person, those midnight classes aren’t for you.)
How much will the promoter mark up the price of your class?
What percentage of the total cost is yours? (This is very important. If the promoter doubles the price you want, you are receiving 50% of the price of the class, and the class may now be overpriced for the audience. This does not mean you have to accept the fuzzy end of the lollipop.)
How soon after you teach do you get paid?
What are your administrative duties? Do you have to clean the classroom? Pass out and collect evaluations? Appear at a “Meet the Artist”?
What is the role of evaluations? (Will you not be asked back if you get one bad eval? Two?)
What are the rules about eating and drinking in your class? Phone use? Disruptive behavior? (Most promoters cater to clients, not instructors, so know what your rules are and how you will be supported in them).
Recognize that you will have administrative work, set up and clean up. It adds time to your work hours. Make sure you get paid for this time.

Derwent Inktense color swatches

Find out Before you Teach

Know the location–the food service, the bathrooms, where to purchase water, what the classroom contains.
Know how long it takes for you to get there, including rush hours.
Know how long it takes you to set up.
Know what you need to demo–whether you have 4 people or 2o in the class. Having a small class makes standing around your desk easy. A big class needs something else–a white board, a projector, an easel. You will have to bring these.
Run through the class in your studio, making a list of everything you need.
Keep your eye on the time. Don’t plan a class that is too long or too short. People pay for a class of a certain length. It should be that long.
Figure in time for questions, chatting and administrative time–evals, sign-in sheets, gathering email addresses from participants, room check.
Control time use in your class. Selling your book, your work, your classes takes away from learning time. Participants resent it.
Be mindful that your main purpose is to teach and give participants an experience  that equals the hefty sum they paid to come.

Time moves at different speeds for client and freelancer. Image: Trade King, http://tinyurl.com/7pvapn3

Manage Your Time While You Are Teaching

Are the participants equally skilled? If not, how you will you handle the difference? (Plan for exercises during which you can help the slower participants.)
If there is a sign-in sheet, wait to pass it around until everyone is there, otherwise you’ll be passing it around forever.
Start the class with housekeeping–your rules for phones, leaving the class, bathroom breaks, food and drink, asking questions.
Let the participants introduce themselves in some way. If the class is large, find out who came the farthest, their favorite class so far to avoid spending a lot of time on introductions. You can also ask them to tell them their name and why they are taking this class. Manage the answers to keep them short.
Introduce yourself and why you are teaching the course. Make your reason something that fills a need, not a list of accomplishments.
If you are allowing students to use your equipment, explain what they are expected to do with it and how to care for it.
Explain what is in the kit in front of them and how they will use it.
Give them the big picture of what you will teach and then start your class.

Act After Your Class

Return administrative papers
Write a thank-you email to the promoter and anyone whose email address you gathered in class. Be positive.
Spend some time evaluating your class and take notes on how to improve it or change it.
Keep class notes, materials list, and lessons learned for the next planning session.
Update your mailing list with new names.

—Quinn McDonald realizes this is a super-long post. She’s hoping you will print it out and use it as a checklist as you go teach anything from art to zookeeping.

Filed under: Art/Freelance Biz, Creativity, Links, resources, idea boosts, Tutorials Tagged: art teaching tips, Teaching, teaching art, tips for teachers