Planning your classes and workshops is always important. However, you should think about pacing as well as actual content. “Pacing” applies to you–your personal style of teaching–but also to your students. In fact, your students should be your first concern.

Divide the day into thirds, at least

I’ve always figured what we’d accomplish in the morning, then what can be done by mid-afternoon, and finally what will wind things down happily as students become tired at the end of the day.

Generally, I do most of my teaching in the morning while students can still absorb a lot of information. Immediately after lunch, I try to tackle questions, and improvise demos if students need a little extra help.

By mid-afternoon, it’s never wise to teach new information. At that point, I’m mostly a cheerleader to keep students from going too far with their work, and prevent them from quitting if the art isn’t turning out as they’d expected.

And, at lengthy events, I also consider where we are in the week.

The pace varies during multi-day events

On the first day, many students are easily distracted and new folks can be anxious about how these classes are run. It can take them until 3 p.m. to unwind enough to start doing what they’ll consider “good” work.

By contrast on the last day, I’ll need to explain things in more detail if it’s a new technique. Students are tired and a bit dazed at that point. And, by three in the afternoon, they’re looking for an excuse to go back to their room and catch a nap.

Permission helps

Especially on that last day, I’ll start my class by saying that nobody needs my permission to leave at any time, especially by mid- afternoon. They can leave for a cigarette, for some munchies, or even for a nap, and return to class later. Or, they can pack up early if they like.

Since I started making that announcement, people are vastly happier and actually tend to stay later. If they know that they can leave if they want to, they relax and aren’t so antsy by three or so.

But, by one or two in the afternoon on the last day, many students have already max’d on what they can learn.

If I am teaching more technique then, I’ll need to demo it at least twice–usually two different ways–with the second demo being very s-l-o-w for those who are truly exhausted, or have “information overload.”

Plan for a variable pace through the day and through the week. It’s better to plan hour-by-hour, than to simply “wing it” with a vague, general plan for the day.

No two teachers will use the same planning methods. Find what works best for you, and allows the most flexibility. When the students go home happy after one of your classes, you’ll feel amply rewarded for the extra preparation time.

Many teachers won’t talk about how much they get paid.

They don’t want to risk future gigs by revealing the financial side of events. After all, many teachers make more at a four-day event than their students earn in six months.

Some event organizers won’t talk about money, either. They prefer to keep their profit margins a secret.

In fact, some will fire teachers (or never hire them again) if they say how much they’re paid at that event.

I got tired of teaching at events that put profits and politics ahead of students’ interests, so I have no hesitation about sharing this “insider” information with you.

Don’t teach just for the money. Your first priority should be your students. But, if you want to earn a living–or supplement your income–with art classes, here’s how to begin and how much you can earn.

Start teaching locally

If you haven’t already read it, start with my article, How to start teaching art.

New teachers should ask the shop (or whatever the venue) what their usual rate is for a new teacher.

Shops usually pay less than events do.

In 2004, shops paid me $10 – 30/student for a half-day class. For ten students, that’d be $100 – 300 for three hours’ work. But, when I started, I was often paid a flat fee, like $30 for a two-hour class.

(For $30 per class, total, I taught locally… usually within a two-hour drive of my home.)

Today, it’d cost far more to drive that same distance. But, keep in mind that your students are driving, too. Some of them will pay more in gas than the cost of the actual class. Keep your class prices as low as you can.

National art festivals, shows and events

At national events, some organizers tell you up-front what they’re paying (usually between $50 and $150 per student, per day, for full-day classes). In some cases, they ask you to set the rate; then, they add on their administrative charges.

Remember, the biggest single expense for many events is not paying the teachers, but renting the hotel rooms that we teach in.

Hotels give events a price break if a certain number of guest/sleeping rooms are rented by conference goers. However, event organizers can’t count on that when setting student prices.

So, don’t gasp for air when you see your fees doubled or an even higher price that the students pay, so that the organizer can afford hotel classrooms.

Church centers, camps, hostels, and conference centers are usually vastly less expensive for organizers… though a bit more rustic for students.But, organizers can price their events at 1/3 the price of hotel-based events, and still make a reasonable profit.

Everyone wins when events are priced within the budget of the average art enthusiast. Those who are willing to accept “summer camp” accommodations–and sometimes ho-hum meals–can still enjoy a fabulous week of inspiration.

No two events will offer the same pay, or the same benefits. If you keep your focus on the sheer joy of sharing art with your students, you’ll almost always go home happy… and so will they.

How I set my prices

When events asked me to set my prices, they were based on several factors.

(A) The going rate. If I priced myself too low, students got the idea that those classes weren’t valuable. If I priced myself too high, I didn’t get enough students. It’s a tricky balance, and always a risk.

(B) My expenses. It cost me more to teach in Washington State than it did to teach in Houston. I checked flight costs, car rentals (if necessary), hotel (sleeping room) fees, and so on.

When you’re new to national events, you may actually lose money the first couple of years, until your student registrations are high enough to cover your expenses.

Yes, I taught at a loss, but–in those days–event organizers weren’t making large profits either.

(C) How eager I was to teach at that location/event.

If it was a great audience and a fun event with no headaches, I’d set my “minimum number of students” figure at the break-even point.

If it was a high-stress venue where I could count on “surprises” that could short-change my students, I was less eager to accept the gig.

Surprises can be positive or negative.  Once, an event organizer “forgot” about my class. My students and I stood around for nearly half an hour while the staff located a room that we could use. That was unfortunate and extreme, but not unique.

Later that year, another event not only gave me a room with huge tables and comfy chairs, the room was amazing. We had an entire wall of floor-to-ceiling windows, so the students could use nature–green and gorgeous outside our windows–as their inspiration. We had a wonderful day!

No two events–or event organizers–are the same. But, some events will be more personally rewarding than others.

At most events, the opportunity to spend about a week with like-minded artists… Well, it can’t be put into words. It is one of the best experiences in the world.

When things go awry, they’re generally minor; no event is perfect, and most event organizers go out of their way to make up for inevitable “oops” moments.

And, when things go well–as they usually do–each class is rich in ways far beyond the paycheck.

Be sure that you can afford it

I can go on & on about the non-monetary rewards of teaching, but that “bottom line” can be the make-or-break issue for teachers.

You’ll need preparation time before an event, and R&R time after an event. Even when it’s a fabulous event–and most of them are–it’s still stressful.

Whether you travel into jet lag territory, or stay up late each night at journaling parties, you’ll probably go home exhausted… but happy.

I generally figured that it would to take me 3x the amount of time that I was gone, to catch up on sleep and general rest, in addition to the tidal wave of phone calls, emails and snail mail that awaited me when I returned to my studio/office.

The income builds slowly

Don’t expect to make much money the first year. And, even when you’ve been teaching for awhile, remember that the paycheck represents far more work hours than the time you spend in front of a class.

That said, once you reach the point where your full-time income can come from your art…. Well, I’d much rather be a professional in this field than doing almost any other kind of work.

Related link: The Benefits of Teaching One-Day Workshops (at ArtBusiness.com)

The rules of an art career can be different from any other business. Keep this in mind when teaching.

Before you even start teaching, decide what you need for a good classroom experience.  Set your standards, and be firm about them.

Can you teach in a room that’s too hot? Too cold? Overcrowded? So large, you shout yourself hoarse?

Do you need a place to rinse brushes, lots of light, fresh air and open windows, or lots of electrical outlets?

Can you maintain your serenity with a jackhammer pounding outside the classroom window?

Also think about “Plan B” if the problem is yours:  Can you teach with a migraine, laryngitis, or on crutches?  If not, what will you (or the event organizer) do?

Every teacher has different standards. Decide what yours are before you teach, and decide what you’ll do if there are problems.

What works–and doesn’t–for me

For me, the biggest challenge is starting the day well.

I absolutely, positively must be able to get into the classroom at least 30 minutes before the class starts, to set up last-minute supplies, and collect my thoughts.

During those 30+ minutes, I turn on glue guns, review my teaching notes, gear up for a fun, high-energy day, and–above all–get in focus so that I am at my best.

I’ve broken this 30-minute rule just three times. These are my personal ‘horror stories’.

The first time, the event staff couldn’t find the classroom key. My students and I were locked out until five minutes before class. We were stressed, not sure if we’d get into the room at all.

(That wasn’t awful, but it wasn’t my best class, either.  I hate starting a class when I’m rattled and my students are feeling cranky.)

The second time…?  It happened at the same event, a year later.

The event’s shuttle bus driver arbitrarily changed her route and didn’t return for over an hour. (That’s how long I waited, standing next to my heavy boxes of supplies. The event was out in the boonies; there were no taxis.)

I arrived after the class was supposed to start. My students were very upset… with good reason.

Most of the students were able to immerse themselves in the class, once everything was set up.  A few continued to glare at me, and one actually heckled me from the back of the room, before she stormed out.

The third time… you guessed it: It happened at the same arts event.  (Seriously. After the first problem, I should have packed my bags and caught a lift back to the ferry. )

The event organizer “forgot” about my class. We had no classroom for most of the first hour (of a full-day workshop) and then there weren’t enough chairs for the students.

The day went downhill from there.

Each time, I tried to pretend that everything was fine. That was a huge mistake.  Who did I think I was fooling?  It wasn’t fine… and it wasn’t my fault, either.

Now, if I see any reason why my students might not get the most out of my class, I act quickly.  If we’re starting on a sour note, I offer to refund their fees or let them transfer to another class.

(And, in case you wondered: I’ll never teach at that event again.)

But, what are your basic make-or-break rules for a successful class? It’s important to decide this ahead of time.

Be prepared!

I do not want to scare you from teaching. Most of my teaching experiences have been fabulous fun for me and for my students.

I’ve described very rare examples, but every teacher has similar stories to share if he or she has been teaching for very long.

Ask yourself questions like these:

• Is it a problem if your students have a five- or ten-minute walk to the nearest bathroom to wash their paintbrushes or their hands?

• If your classroom has thin walls and the students next door are hammering on metal all day, will the noise give you–and your students–migraines?

• What if your 20 students need to use glue guns or power tools, and there are only two working electrical outlets in your classroom?

• What if the meals are awful, the rooms are cold, and a crew is working on sewage pipes just outside your room… all at the same event?

• What if a student has an emotional crisis in the middle of class? (This happens regularly when working on deeply personal art.)

• What if you have a ‘heckler’ in your class? What if someone criticizes you–or another student–and won’t stop?

Each of these examples is drawn from my own teaching experiences.  In most cases, I handled the situation gracefully.

In a few others… well, I still wince with regret when I think about them.

Decide what you need to teach, and make that clear

Make sure that everyone’s on the same page. When you agree to teach, clearly state what you require.

If you encounter problems, don’t teach until (and unless) things are set right.

That is the most difficult thing for me to say. It may be the most difficult rule for you to stick to. But, you must be prepared. You must always put your students first.

At least 80% of the time, you won’t encounter anything this dramatic. Usually, the “oops” moments involve something minor like a window that won’t open, or not enough paper towels for cleanup.

And, most teaching opportunities are tremendous. By the end of the day, you and your students will have forgotten any minor inconveniences.

I wish I’d learned this lesson sooner: If your minimum, reasonable standards aren’t met, don’t compromise. Don’t start teaching until you can give your students the great class that they’ve expected.

If you’re too inconvenienced, rattled or annoyed to be at your best, give your students the option to switch classes. Or, speak to the event organizer immediately.  Or both.

• Think about your minimum standards.
• Make them clear from the start.
• Then, stick to them.

In general, teaching at shops, shows, and events is so much fun, I’d teach for free. (Sometimes, I do!)

It’s rare that anything goes terribly awry, but it’s something to prepare for, just in case.

If you’ve planned ahead and are firm about protecting your students’ interests, every class can be fabulous fun for everyone involved.

That’s why we teach, and that’s why students flock to our classes.

If you’ve been teaching at shops for awhile and you want your career to reach new heights, national art events are your logical next step. It’s not an easy step, but can be an important one.

Before you leap into events, consider how it will change your life and your career. Despite the apparent glamour and prestige, events aren’t the best teaching venue for every artist.

I’m going to sound like a ‘devil’s advocate’ in this article. But, these are important issues to consider.

Expect to teach at a loss for the first year or two. Event paychecks may look juicy, but when you factor in expenses plus prep time, it can equal minimum wage. You’ve probably noticed something similar when you’ve gone on the road to teach at shops.

To learn more about paycheck issues at events, see my article, What Art Teachers Are Paid.

Events often require more complex classes, with far more info, more demos, plus more handouts and supplies that you provide.

Also, it’s smart to create very different classes than what you usually teach at shops.  Students won’t want to pay high event prices, if they can take the same class (or the same kind of class) for less at a local shop.

Be prepared for new competition at shops. Some of your students will go home and teach the exact same class… for far less than you’d charge. They may even use your handouts without your permission. (Almost every teacher has dealt with this at least once.)

So, once you start teaching at events, you may have to radically change how you teach at shops, or phase them out altogether. Consider this carefully if you’re moving up to national events to make more money. Income probably shouldn’t be the reason why you teach at events.

Why would you teach at events if you’ll lose money your first year or so, and (maybe) stop teaching at shops–which are ‘bread and butter’ for many teachers?

The answer is simple: You love to teach, of course. That’s why we all do this.

In addition, national events make you into a ‘name’ in this field. This can lead to higher prices in galleries. You may discover licensing opportunities, book contracts, and–of course–fabulous networking.

Teaching at national events propels your career so quickly, it can be breathtaking. (It can also be overwhelming if you’re not ready for it.)

Start out by teaching at shops, etc. That’s where you get your experience. But, if you want to grow beyond that, quickly–and you are willing to forego the income and still cope with the challenges–take the leap to events.

Teaching on a national or international scale is not a smart choice for everyone. But, if it works well for you, the personal rewards–far beyond the paychecks–are tremendous!