fbpx

Category: quarantine art

Posted on

How to teach on Zoom (quick and dirty)

Hopefully we won’t need this long, but if we do, we can all learn together.

Me on Zoom, captured by Chrissy Pahucki.

Mary Byrom started teaching by Zoom a few weeks before me and she kindly helped me set up a protocol that works. Yesterday, Mira Fink asked for tips. I was answering on my cell phone so couldn’t be as specific as I’d like. Mira, this post is for you and anyone else trying to navigate the shoals of teaching in the age of coronavirus. It’s a quick-and-dirty way to get started teaching online; hopefully we won’t need this long, but if we do, we can all learn together.

I’m using the pro version of Zoom, which sells for $14.99 a month. I chose it for the following features:

  • No time limit, which allows for a three-hour class without interruption;
  • Full interactivity; we won’t have to have discussions via “chat” only;
  • “Share screen” function, which allows me to lecture with slides. If you want to do a prerecorded demo, it’s possible;
  • “Pin screen” function, which lets students keep me on the main screen while others are talking;
  • “Mute/unmute” which cuts down on the ambient noise.
My physical set up, after the laptop and phone have been removed. I can swivel the pochade box so my phone camera can shift between the easel and still life.
Physical setup

My laptop is on a small table below a large monitor. This is my painting monitor, doing double duty. Perched on the monitor is a small USB webcam. My phone is in a flexible gooseneck phone holder attached to my pochade box. This is easily adjusted, yet strong and stable. I have a power bank taped to the top of the box. This powers my phone through the entire three-hour class.

Yesterday I learned that double sign-in also prevents the meeting from disconnecting if one of your host devices freezes.

The webcam is aimed at my face. The phone is shooting over my shoulder at my easel. Be sure to mute and turn the sound off on one device or you’ll get a nasty ringing feedback.

Because I’m teaching in both watercolors and oils, I have each setup on a separate small folding table beside me. I have a small rolling task chair. Unfortunately, the Zoom platform really discourages teaching from a standing position, since the camera area is so small.

I have two diffuse photo lights I set up as fill lights. One is aimed at my face, and one at my still life.

Prep for a class about combining reference photos. Normally, my photos would be on my monitor, but for demonstration purposes, they’re on a board.

Class prep

Mary Byrom encouraged me to create a written class outline and a syllabus, because online teaching is less interactive and responsive than live teaching. This was great advice. I have a six-week syllabus and an outline of what I want to cover in advance. Of course, I am constantly tweaking this based on the needs of my students.

We are almost never going to paint from photos in my class, even if we’re trapped inside. That means my students also have set-up to do. Each weekend, I send them:

  • A link to the upcoming class;
  • A description of what I want them to set up for their still life.
An composition exercise from a Zoom class.
Meanwhile, I prepare lecture notes and create a slide show. This is generally about twenty slides long, and covers a specific topic. It can include exhibits specifically made for this class or masterworks by others. Despite my writing experience, I’m finding this tricky. It’s way too easy to overload students with information.

I demo specific points about painting, but I generally don’t demo every week. If that’s all we offer, students are better off buying an instructional video than taking a class.

I don’t like to do long demoes, but I do demonstrate specific points and skills as we go along.

Class structure

In a live class, people usually show me their homework when they arrive. It’s been an uphill battle to remember to ask for it. After we’ve reviewed last week’s assignments, I go through my planned lecture.

I teach a specific painting protocol, so most of the class is watching people execute that protocol while incorporating that week’s lesson. I go round-robin through the class, just as I’d walk around my studio. I look at each person’s work, make suggestions, and then move on to the next person. The downside to Zoom is not having the time to stand there thinking. The upside is that others in the class can look and comment on what’s being shown. Often, my students are more insightful critics than me.

Class size

I generally limit my classes to twelve people in real life, so I’ve done that with these Zoom classes as well. It seems a natural limit that works well for me.

Posted on

Appreciating liberty

“This is bigger than 9/11,” she said sadly, “and did we ever go back after 9/11?”

Stormy Skies, by Carol L. Douglas. Available.

Yesterday was a Zoom-intensive day. I started with my class. Then I switched channels to the Maine Arts Commission. That’s a meeting I had to attend, since the commission is working heroically for our economically-battered arts sector.

That meant six hours of online meetings. Later I texted a friend whose job involves doing this all day long. “It left me feeling extremely out-of-sorts,” I told her. “I’m kind of anxious, and I’m not an anxious person.” She said the same thing sometimes happens to her.

A group in which I serve is operating on the principle that we won’t meet in person at all for the foreseeable future. That means we must put all our activities online as much as is possible. But how to do that and in what form remains to be seen.

After the storm, pastel, by Carol L. Douglas

I also belong to a group that’s trying to figure out how to start meeting in person if the limit on gatherings is eased in June. There’s varied opinion in our circle about the importance of the restrictions now in place. However, we’re united in wanting to make live meetings happen. That means doing what’s necessary to make everyone comfortable.

Wise leaders are struggling to meet people where they’re at, rather than dictating what their response should be. I have friends who think this is a conspiracy to deprive them of their rights, and friends who are afraid to go to the grocery store. All must be accommodated as we grope our way forward.

How much will we appreciate our liberty when this is all over? The answer depends, in part, on whether you find the current crisis much of an impingement. Not everyone does.

Parrsboro Dawn, by Carol L. Douglas. Available.

As someone whose livelihood and religious practice have both been swept off the table, I recognize that things have changed. The question I ask myself is whether I’m intrepid enough to venture out into this new reality, or whether I should retire to the country and raise chickens.

Last night I asked my friend Cheryl whether she thought we’d ever go back to life as we knew it. “This is bigger than 9/11,” she said sadly, “and did we ever go back after 9/11?”

I’ve always wondered why so many people willingly collaborated with the Nazis during WW2. Today people apparently denounce their neighbors for having company or for not wearing masks. I know people have noticed the New York plates in my driveway because they’ve remarked on them. Luckily, these were people who like me.

Sunrise in Virginia, pastel, by Carol L. Douglas

I begin to understand the social pressure that drove the collaborators. They were driven by fear, anger, and opportunism as much as ideology. These are all social behaviors, just as much as love and friendship are. We humans are ultimately social animals, even when we’re sheltering apart. We’re so strongly designed that way that it can be our undoing. As I discovered in Argentina, the answer to the question, “If all your friends jumped off a cliff, would you, too?” is, apparently, yes.

Still, don’t for a moment think I’m unduly pessimistic about the future. My faith can be derided as simple, but simple isn’t necessarily a bad thing. “When you pass through the waters, I will be with you; and through the rivers, they shall not overwhelm you; when you walk through fire you shall not be burned, and the flame shall not consume you,” wrote the prophet Isaiah. I know that good will come of these trying times; it always does.

Posted on

Monday Morning Art School: the tree outside your window

There is always something to see, even when we’re stuck at home.

The tree outside my front door is a maple, and it’s bereft of leaves right now.

Sue Colgan-Borror has been encouraging her fellow Knox County Art Society painters to take up a new art challenge each week. Last week’s subject was, “Where would you rather be,” to which Mary Ann Heinzen-Hackett responded, “Right here!” and went out and painted in the bitter cold.  I’m with Mary Ann. Although I enjoy jetting off to exotic places to paint, I love my own home the best.

One of the issues we face in lockdown is that many of us are being deprived of meaningful contact with nature. This is not a mere luxury. Research has shown that people who regularly spend time in green spaces are physically and mentally healthier than their peers. This finding cuts across lines of race, economics and gender.

A few weeks ago, I had my weekly painting classpaint the view from their windows. This was a limited exercise, in that each of them was working from their studio space. That meant they had one, or possibly two, windows to work from. But what about the views from all the other windows, the ones we barely notice?

The tree on the dooryard is an Eastern White Pine.

There are windows in my house that I seldom look out. I simply pass by them. I’m not alone in that. “When I encouraged people on social media to take a photo of a tree outside their window, one man replied that he’d thought it sad that he had no tree to photograph, before peering out into the street and realising that there was one right outside,” wrote Isabel Hardman.

Some of these tiny views that I ignore are arresting vignettes. Take the view from my front door. This door is never used; everyone uses the kitchen door, which opens off an area still called the dooryard in Maine. That neglected front door has a lace curtain over it, allowing only filtered light to come through. Outside is a beautiful old maple, the last survivor of a long line that once ran along Route 1. But since I never look at it, it’s seldom in my consciousness.

Tiny watercolor thumbnails done outside my window in Waldoboro, ME in the dead of winter.

There’s looking, and then there’s looking. There’s a difference between glancing at a tree and spending time drawing or painting it. The latter will give you most of the health benefits of a trek through Acadia National Park, and you won’t have to break quarantine to do it.

The tree outside your window is just one example of the beauty to be found in the everyday. There is always something to see, even as our viewpoint narrows with circumstances. Édouard Manet died tragically young of syphilis; he suffered from pain and paralysis during the last three years of his life. Yet during this time he completed many small still lives of flowers, fruit and vegetables that are today among the most admired and beloved of his work. I’ll bet they brought him joy, too.

Most of these thumbnails were done from my window in Rochester, NY.

A big part of learning to paint is learning to see.  Your assignment this week is to travel around your house and make small thumbnail sketches from various windows. If you’re lucky enough to get outside, sketch what you see out there as well. All the examples I’ve included in this blog were done in my daily travels around town or from my own home. They’re in watercolor, but you can work in pencil or marker. 

A marker sketch of my current house. Your window sketches don’t need to be any more complicated than this.

The goal here is two-fold:

  • To see beauty in the everyday;
  • To learn how to draw or paint better thumbnail sketches.

Posted on

Let the good times roll

If you don’t rejoice in the good times, you’ll have no resilience when the bad times come.
Breaking Storm, by Carol L. Douglas. I missed painting American Eagle’s fitout this year because I’m quarantined.
People ask me how I know when a painting is done. “When I’m sick of working on it,” I answer. All creative work is a compromise between our vision and capabilities. This means not just skill but environmental factors. If you doubt that, try singing through a headache.
Our current crisis involves more compromise than usual. Our supply chain is broken in odd ways; that includes some scarcity of art supplies. Carol at Salt Bay Art Supply in Damariscotta told me she runs low on white and black paint first. The white I understand; black, however, is a mystery to me.
Hammond Lumber has been great about accommodating my quarantine, but they can’t send me what they don’t have. That includes color charts. Each time I climb on a ladder to work on my current project, I wince at the state of the crown moulding. It needs paint, but I can’t match the other white in the room without a color chart. It’s difficult, but I’m deferring the trim to some future time.
Cadet, by Carol L. Douglas
I commiserated with two well-known artist friends yesterday. “This has me working twice as hard to look for ways to continue to make a living,” said one. The other has taken a night job to feed his family. “I can still paint during the day,” he said. They both have school-age kids and are making compromises to survive.
We live in a pandemic mindset. In some ways, that’s liberating. There has been blessed silence about some of our previously-consuming passions. Food allergies, the upcoming elections and gender identity are three things I’m happily not hearing about right now.
The bleak, short days of winter seems halcyon in retrospect, even if I didn’t have the Christmas I thought I wanted. It’s a pity that we so often ruin the present with our anxieties. Seizing the day is not just a recipe for overall happiness; it gives us the strength to roll through the bad times when they (inevitably) come.
Flood tide, by Carol L. Douglas
When a mother takes a newborn home from the hospital, she is overwhelmed with physical and mental fatigue. Years later, that isn’t what we remember first; we remember our joy. I’m not sure why the human mind is wired this way, but it’s something we have to work to overcome.
The Black Death was the most devastating pandemic in human history. It killed a third of Europe’s population and around 20% of people worldwide. If you lived through it, it was an unmitigated horror. Yet it ultimately broke the caste economy of the Middle Ages. Serfs could leave the manor and find work, which freed most people from a life no better than slavery. Land prices dropped. Meat consumption rose, because you can raise cattle with fewer hands than you can raise corn. In fact, the plague set the conditions that eventually led to the creation of the middle class.
All of which is to say that not every disaster is an unmitigated disaster. Sometimes, trouble is a way for society to kick off its stays and try something new. What if these turn out to be our Good Old Days?