The art of demo-doing

The phrase “Never let em see you sweat” is the thing to remember when your demo is taking a left turn on a right through way. The first time this happened to me I simply forgot about everyone in the room and worked it and worked it until I got things under control. Most of the room was more impressed by watching me save the painting than whether or not I ended up with what I intended. My friend who attended the workshop congratulated me on making lemon aide out of a lemon.

I demo how I paint dogs’ eyes in watercolors whenever I do a book signing and sometimes at my studio during workshops. The demo usually takes 20 minutes and I’m always surprised at how interested people are. I usually start by showing people a previously completed demo painting and tell them “This is what I’m aiming for in this demo; but there are no guarantees when making art so we’ll see what happens!” That sets up a little friendly suspense which is fun for the audience. “Will she or won’t she get it right this time?!” they are probably thinking. As I work, I talk about the whys of my process, paint choices, etc. The whats they can pretty much see for themselves but the whys are not always obvious. I invite questions along the way. If the demo painting goes bad, then I acknowledge that and explore my options with the audience for fixing it or simply admit it can’t be rescued. Either way, they get to see how art really happens and that’s the whole point of my demos. I don’t aim to paint something perfect, I aim to educate my audience about what really goes into the effort. At the end of the demo, I usually give the piece away to someone who seemed to be most engaged during the demo and looking to learn from it. Demoing is really fun for me!

I’ve given hundreds of demos over the years. I do at least one a day for the workshops I teach, and sometimes two. Talking while demonstrating is a skill that needs to be learned, for sure. It is a task to get both halves of the brain working at the same time. But it can be done. I actually find it easier to narrate my decisions and moves as I work, rather than talk about things that aren’t related directly to the painting at hand. I always tell my students, you can ask any question you want while I’m demonstrating, just so long as it has to do with the demo. If you ask me how long I’ve been painting, where am I from originally, and so on, you will steer me right into the ditch. Demonstrating, by the way, and talking about what you are doing and why you are doing it, forces me to justify my choices – and if I can’t justify a choice, then I know I’m doing something wrong and need to correct it. It’s made me a much better painter.

Actually I don’t mind watching poor artists do demos. Their bad work and constant errors make me feel smug and competent. We have a shortage of good demo doers in our club, but it’s okay for a bit while we’re waiting for our tea and cookies.

I am a textile artist and teach fiber art techniques. After a few demo stumbles, I figured that demonstrating is a right-brained task while speech requires the left brain. I neither stitch well while talking nor talk intelligently while stitching. I explain this to the class, dive in, then stop to talk as questions arise. Works with most groups. Texas.

I enjoyed your letter on demos. I also found that rehearsing the demo a day or two before helps enormously: you can see exactly how much time it will take as opposed to what you alotted on your schedule, you can discover and work through any problem areas and therefore minimize re-do on the big day, and you can take notes on what you want to say, or ask the audience during the demo. I was pleasantly surprised that you encouraged audience paticipation, as opposed to relying totally on yourself for “narration”.

Also: Practice, practice. I used to practice in front of a mirror, once in a while. Of course, 34 years of teaching gave me a leg up!

Thank you once again for wonderful common sense advice. I enjoy your writings very much.

As a high school art teacher, demos are how I show the students what to do. It’s probably the only time I have their undivided attention! It’s also how I can show them that something is difficult. If I have trouble centering the clay on the wheel, they get that it isn’t an easy thing to do. I also ask students to watch each other to observe different techniques. Sometimes it’s easier to watch another student than to watch the teacher, especially when there are 35 kids in the class! Westside High Augusta, GA

Demos can be stressful, but they also allow the artist to interact with an audience. I love doing demos for my classes and workshops, and also for art organizations. And, yes, many times the demo is not really a “finished” frameable painting. Most demos are done with a short time limit not conducive to a finished painting. I tell them I will be responding to questions about specifics and show how to do those things they ask about. During a class demo a few years ago, not going especially well, I turned around and said, “It is not working. I wonder if any of you have ideas about what you would do?” They were excited about offering their thoughts. This was a class of students that many had been with me over five years … a class where there was a waiting list, and students rarely left except if they moved away. At the end of the evening, all the students told me as they left “this was the best demonstration ever.” A few of them said it showed them many ways to tackle a problem, and gave them thoughts about how to “think” and “solve”. They also told me seeing the struggle helped them accept that not all “starts” will be a frameable painting. Since that time, I have been less fearful of not doing a “beautiful” finished painting for a demo.

Three internationally revered portrait artists during demos: 1st) “I hate demos. They’re really just a stunt, you do realize that? I’ve got the information I need if I were to paint this model. But I’ve done better. Sorry.” 2nd) “I’ve misjudged these values.” He then took a loaded brush of burnt sienna and blocked out the side of the model’s face on the canvas. The audience gave a collective “Ohhh!” He was right … then the face took form. 3rd) I call him Mr. Gold Standard. He preceeded the demo by briefly stating his technique to arrive at proportion, then he was silent. He did a 45-min pastel with not one misplaced stroke, efficient, confident, unhurried. Humbling. “Questions?” …. tough when your jaw is hanging open. The first two were human enough to admit they still make mistakes. The last guy might as well have shouted at us, “Learn to draw, people!”

Has anyone had experience as a co-demonstrator? If so, do you have any suggestions? Another artist, whom I know, and I have been asked to demo portrait painting for one-half hour at a local library in April. The audience participation/question time will be for the remaining one-half hour of the hour long session.. My partner-artist took to silence when I placed a phone call to her to discuss the joint venture. It seems complicated enough that I have not directly demoed in front of an audience before. There have been many occassions when artists and the public have witnessed my portraiture by the mere fact they were in the same vicinity. Life drawing is a fav., and drawing in charcoal or ink painting portraits for charity events/auctions has been requested in recent years. I suppose it is the next logical step to officially demonstrate, though I would not have sought it out. Frankly, I am a bit nervous. I can’t talk, paint and chew gum at the same time…even listen to most music in the background while drawing a model in a group setting. One man regularly comments about this at a portrait group I sometimes attend as he cannot undestand wanting silence. Before the demo, I intend to speak of process, bring samples of prior works and as stated before, take questions afterwards. Yet, since it is my first time anyway, how to coordinate things, focus, and successfully demo doubly with another artist? This fellow artist’s style of communication and temperament are quite different… much bolder. Thank you.

I was demonstrating in Normandy and during a silent period where my several watchers were hardly moving and very still, a wagtail came along on the ground picking up crumbs from our lunch.The bird flew up to the edge of my French Easel and then to the top above my painting. For a second I made eye contact (startling) with the bird and then he (she?) flew off. Was this some sort of a spirit from the past–another artist perhaps? Perhaps Monet?

I give only demos to 8-12 year old project kids who come to our weekly watercolor class. Turns out it “stick the brush in, bring out the paint in abundance and slosh onto the paper” I so carefully cut to give them an opportunity to do a “masterpiece”. Ah! but sub-teens and their love of putting it down in masses of paint. How should I control it or really only appreciate what they are doing in their adventure? We need your thoughts on teaching kids, or keiki as we refer to them in Hawaii. Mahalo

I would like to thank you for your inspiring mails and everything else that you share with us.

Two great ways to get over being nervous doing demos. The Best way is do the demo first at home. Start it, and talk out loud to yourself about what your doing -go to finish. This way you know what to do, how long it will take and what to leave out. The second way- which takes much longer – is paint with people watching as much as you can. Paint outdoors and with people around, answer questions by describing your process. Show them how you do what you do. Don’t worry if you don’t finish. They don’t care if you finish, they want to see your process.

I have found that the most effective way to reduce presentation anxiety (for me) has been to inform the participants that painting is a right brain activity and talking is a left brain activity. So when most engrossed in painting I may seem to be rather incoherent. I find that it is also a good way to reduce the chatter in an ongoing painting class.

I remember my first class at the Rhode Island School of Design when I had to do a demo. I was nervous and I thought my effort was embarrasing- this is until I saw what my students did! They though I was a genius My second attempt was at the Scottsdale Art School, another dreadful effort. I swear I could here sniffs of “she’s not really that good is she”. I am a very, very slow painter and I pick all my colors with great deliberation. I am not a bravura drawer or painter, I am more like a tortoise. It takes me ages to get something on paper or canvas. That is probably the lack of classical training in my youth, which sadly was not available or rare in the 1960’s. I am absolutely blown away by those who can stand up there, talk and do a creditable piece of work.

I’ve been doing demo’s for years. I like to picture myself successfully doing what I do best, showing others how to draw, paint, etc. I know they are most likely in the class because they want to learn what I can share with them. I’m happy to say that it seems to work ok, for me!

I am an Art Teacher and frequent demonstrator. A great tactic for all audiences is for the demonstrator to restate the question that came from the audience. This does two things; 1. Gives the demonstrator time to formulate response 2. Gives the audience a chance to HEAR the question said at presentation volume. Love your Twice Weekly

This is what I do for performance anxiety when giving demos and it has helped enormously. 1) I remind myself that what I’m teaching/demoing is interesting. And I prove it to myself by reminding myself why I was initially interested in the subject. I often will share this with the audience. If I was curious about something then the audience will most likely be too. Isn’t that why they invited me?! 2) I plan and prepare the demo as completely as possible. I do this 4 ways. Before I do anything, I prepare what I will be demoing and practice it in my studio. If it’s a drawing or painting, I do it, time it and talk (to myself) as I’m working. When that is all done, I image how the whole event will go. How I will begin, what questions might come up, what might be a bit boring and how I will fill those gaps….let it just be quiet? Tell a story? Ask the audience a question? I do this over and over until I have a firm vision of what will happen. Third, I write an outline so that I can stay on track and because when I get nervous I forget things. This I keep next to me as my reminder. Finally, I keep a running list of everything I will need for the demo and add to it as I think of something….Materials, business cards, images, whatever…..I just add and take-away as I think of things. 3) Lastly, I know that artists are generally a really friendly group of people and that we all like to hear stories of how to do something. Even if they only get one thing of value from what I do, that is often just the ticket they need to move forward in their work. And that is valuable. One thing that has been really helpful to me is to know if the demo needs to have a finished image at the end. If it doesn’t then I bring an image that is finished so the audience knows what it will finally look like and work the demo to a stage that is good enough to get the info across and where there is a good visual leap to the end, being the image I finished in my studio and brought with me to show.d

I’ve always liked the idea that I can have something wrong in what I’m demoing, and rather enjoy figuring out how to fix it to everyone’s great pleasure. But several years ago a guy said, “I can see you’ve really got yourself into the glue, Bunky.” He left the room, never to return, and left a puzzled look on some of the faces.

Regarding the remarks of Dan McGrath (above), and others, I think it’s a big mistake to rehearse anything beforehand. Just like anyone else, the demonstrator should be exploring, taking chances and inventing new forms on his feet. That’s what art’s all about, and those who do rote, rehearsed recipes, are missing the creative point.

Demos should be entertaining, at least mildly. Anecdotes gained over time can provide comic relief particularly at the beginning of a demo – the onlookers will feel at ease and realize you are human. You certainly don’t have to talk continuously, but you do have to talk. A few years back, one famous Australian artist started his demo with some good humour and everyone settled in for a great demo. But then he said nothing else for and hour and a half hours while he painted an abstract landscape. Many of the audience fell asleep, others left their seats, but most endured till the end. It was a lesson indeed. People love to know what colours artists use, so I preempt the question right at the beginning but stress that the painting could be done successfully done with other colours. I recently conducted a demo at a large regional art show and wore a t-shirt that I had painted my name on that morning. Some wanted to buy one, some artists thought it was a great idea and said they would use the idea in their demos. At least everyone knew who I was even if they came into the marquee while the demo was in progress. Photo attached. One last thing. If doing a demo out of doors remember to take off your sunglasses. I was all at sea last year during an outdoor demo. The colours just didn’t look right – then I took the sunglasses off!

Regarding birds, last summer at Yosemite I was squeezing some Hansa yellow when my palette was attacked by a hummingbird. The bird did not put his beak in the yellow, but hovered above it in particular for several seconds before taking off like a shot. Later, when I was painting he buzzed my head dangerously close several times as if to warn me not to try to fool him.

I hate doing demos. I won’t do them anymore. Art for showmanship is not germane to making art. Art is all about process, and it takes a quiet, private interaction between materials and the creative mind. Leave demo-doing to the circus performers. Let the unskilled go to work and figure their uniqueness out for themselves.

I too have suffered from demo-anxiety. I never thought there was any cure for this, and the failure of it, but to keep doing it til you had enough experience to improve and not be nervous. My daughters’ wisdom also helps: In asking her if she ever gets nervous when performing (a musician and dancer) she just says, “Ya, but it’s OK.”, and doesn’t make any kind of a deal out of it.

Normally I demonstrate in each class as I teach each week. My students are mostly girls in their pre-teen years. Problems they have as they paint are evident every day. Many times I help them through their problem by doing the same subject they are wrestling with, or helping them remove a given area on their paintings with tricks I’ve taught myself over many years. Our main medium is transparent watercolor. In my four classes I find the kids using the tricks and brushes I use as they work at developing the techniques I’ve taught and demonstrated in our classes. Very gratifying!

To all of you demonstrators from a frequent attendee, thank you very much for exposing yourselves. It is not easy to talk, think, paint and entertain all at the same time. Setbacks are unavoidable and watching you solve these problems is very helpful. May I make a request? Always show what you are working from. A model, a still life setup, even a photograph helps your audience to understand why you do what you do. Thanks again.

Just a note of advice regarding demos. Creating art is a right brain activity, whereas speaking is a left brain activity, so when you are creating it is difficult to find the words describing what you are doing. Either say them before you begin, or after you finish if you find yourself at a loss for words. Also, if things don’t work out, interject a note of humor about it and everyone will go along with you. We’ve all been there so mostly you have a very sympathetic audience.

Long time ago when I was taking art classes, I was working on a painting that was going really well, so most of the class gathered behind my easel to watch me paint. I like humor so to feel more at ease while being watched, I kept talking and joking as I was painting. From some reason I didn’t have any problem whatsoever with the right vs left brain concept. In fact I didn’t know anything about it. This has been going on for about an hour or so when the teacher said half-jokingly that it is obnoxiously arrogant to paint with such ease and crack jokes at the same time. He said that this was supposed to be difficult and that even though my painting is looking good so far, I was probably heading into a disaster. He basically told me to radically tune down my enthusiasm and be more cautious. I think that I just laughed it off at the time, but I did take his frank comment to heart and I am glad that he gave it to me. I learned that people want to watch creation of something beautiful, but at the same time they want to know that they too could do it. Also, if you are overconfident and the painting eventually goes south as my teacher suggested that it could, it would be impossible to save face. As long as you keep it a low key, people forgive mistakes because they can identify with that.

I’m afraid if certain teachers allowed questions at the beginning they would be “where do you get your bow ties?, or where did you get those glasses?”. It is my goal to do a couple of demos at least before I die, it’s on my “bucket list”. I’d like to cut up a bit and be known for my humor as well as my skill.

Regarding demos – here are 7 things I have observed. 1. Demos get easier the more you do them. 2. Let people sketch, draw or do a step-by-step while giving your demo. Not all demos are step-by-step – but if you have the audience just staring at you the whole time – it could add to your feeling of nervousness or shakes. But students that are engaged and actively practicing (even a little bit) can take their eyes off of you as they work on skills and focus on listening. 3. Practice the demo ahead of time to get a general idea of each step you will cover. This will provide structure and comfort for you during the actual demo. Note that you also then tweak and modify the demo by using feedback or just from your learning. Your initial demos may need to backtrack because you may have skipped a few key things, but that is part of your seasoning. You can also keep a small list of steps that you will cover – (cheat sheet) and this little note can add to confidence by keeping you on track if the shakes start up. 4. Begin starter demos by selecting subjects (or using media) you are comfortable with. This may sound obvious, but without realizing it – we may give demos using a lesson, media, subject, EOE or POD, or topic that is not quite a strength, and this can lead to nervousness during your delivery. So start with familiar and well-known lessons and give yourself room to grow. 5. Remember that sometimes things are just “off” because of multiple factors. Like the class (or audience) can also influence the success of your demo. For example, if there are some folks with critical spirits in your audience, you may sense that (esp. at first) and it may interfere with your flow. Or if you are giving a demo to certain individuals (i.e. experts, friends, strangers, mentors, etc.) that could factor in – or if someone is tapping (or coughing, moving a lot, or just staring a certain way) – this could also combine with where we are at that day and other factors! 6. Consider having multiple projects going. For example, in one flamingo lesson, I actually had a few different pictures going at the same time. The first one started with basic steps – but at least 4 students were not paying attention. I started another picture for them – while I then went back to the other sheet and added the later steps. Then returned to the second picture and said, “Okay, for those that are following this picture, the next step is to lightly sketch in the rocks on the foreground.” This multiple picture approach allows you to cater to differing attention spans (and adds to your demo practice as well). 7. Celebrate you! Without being cocky, remember that your demo is a gift to the audience – because not only do we all learn by sharing ideas – and a live demo has a potent lingering rippling effect – but your demo is sharing an essence of you as an artist – and your version, your twist on things, your presentation is all yours and is not good or bad -it is what you gave that day (it is what it is). And sometimes I start my demo by saying, “Now, okay, you may know how to draw (or sketch, paint, create) this item in a different way, but this is my way.” Or I may say, “Okay, there are numerous ways that you can draw a sailboat in the water, this is just one way I am showing you today – you may decide to use a different way, but learning this style will only add to your foundation and will give you more options. Okay, so the first thing we start with is….” But it takes the pressure off when you do not come down hard on yourself to do such and such – just be yourself and let them feel you as an artist!

I am an Australian face and body artist (not tattoos) so while I am teaching a workshop or painting on people I ALWAYS talk to them…not idle chit chat as this distracts me, but my design analysing, self talk thoughts that go on regardless…I find this gives me a great rapport with my paintees and they know what I am doing on them too . If I get to a spot for a few moments when I am not sure what to do next, I ASK THEM what THEY think I should do or what they are liking best and why they think this is working, …this not only gives me a few moments to “regroup and refocus” but involves them, makes them think therefore learn… and realise this is ART, not just muddling about having fun. My students always say they they’ve learnt a day of info by lunchtime in this way. I can also say that when I have attended workshops I can greatly enjoy watching silently if the artist is a quiet one. A spirit of reverence pervades the room in this instance sometimes, which can be very special. The most important thing is to demo only what you are good at and then relax , get in the vibe so your creativity flows. This is uplifting to everyone including yourself!

I remember reading in my studies in school that contemporary art had lost its meaning with the loss of story which the church supported and provided in past art. This bothered me. I remembered artist such as Norman Rockwell, who was considered and illustrator, but there was true story telling and meaning deeply felt in his artwork. I think that art that makes individuals feel deeply and cause them to search for the meaning for themselves within the artwork is actual a stronger way to tell a story. So much of the time I don’t purposely attempt to tell a story but a story finds its way into the artwork, and the meaning of the story belongs to the viewer.

Some women painter’s videos are a lot more enthusiastic & confident than other painters . They are relaxed & let their marks create the story.