email: evanbens@gmail.com
Photo by Amber Hunt.
There are three fundamental concepts that I establish in every studio course that I teach: create a positive and focused atmosphere, emphasize learning hand skills and technique, and work hard above all. Beyond that, I’ve found that each course, school, department, semester, and student body requires a unique approach and openness that is ever-evolving to accomplish the primary goal of passing on knowledge.
A good classroom atmosphere is essential for what I do because the students will be spending a considerable amount of time with me over the course of a semester and they’re going to learn a lot more if they actually want to attend each class. I establish all of the syllabus guidelines and expectations along with a very clearly defined grading rubric that takes all the guesswork out of how grades are earned. This way, it’s accessible to non-majors and demystifying to art majors. I also provide regular point updates so that there are no surprises when it comes to their final grade. With grade confusion minimized, I focus on making the learning experience enjoyable. I’ve grown comfortable in my role as an entertainer/educator while conducting demos and lectures. I know that if I want students to retain very much, my demoing and lecturing need to be concise and easy to follow—and it never hurts to throw in some humor along the way to make sure they’re paying attention.
On that note, I place a big emphasis on demos for technique as that is one of the few measurable areas for which I can base grades. Time invested equals progress made. My entire curriculum is centered on that equation and meant to maximize time spent practicing the medium. Proper technique established early allows the students to better use their increased freedom later in the semester to more successfully execute ideas that will be meaningful to them and relevant to an audience.
I make a point to always keep the “why” question an active part of every class: why a technique works, why colors behave a certain way, or why the student should care. The average engineering major, for example, might need a reminder that the creativity gained in a drawing course could be incredibly useful for visually manifesting ideas that would otherwise be abstract, disorganized thoughts. Art majors and non-art majors alike should know why the class they’re taking is relevant to them at that moment and in the future.
To sum it all up, I believe in a utilitarian approach that isn’t boring. I have to be organized and meticulous in the preparation and introduction of each course, so when it comes time to work through the curriculum, everyone can be focused, learn a bunch, and have fun—myself included.
-Elijah Van Benschoten
A good classroom atmosphere is essential for what I do because the students will be spending a considerable amount of time with me over the course of a semester and they’re going to learn a lot more if they actually want to attend each class. I establish all of the syllabus guidelines and expectations along with a very clearly defined grading rubric that takes all the guesswork out of how grades are earned. This way, it’s accessible to non-majors and demystifying to art majors. I also provide regular point updates so that there are no surprises when it comes to their final grade. With grade confusion minimized, I focus on making the learning experience enjoyable. I’ve grown comfortable in my role as an entertainer/educator while conducting demos and lectures. I know that if I want students to retain very much, my demoing and lecturing need to be concise and easy to follow—and it never hurts to throw in some humor along the way to make sure they’re paying attention.
On that note, I place a big emphasis on demos for technique as that is one of the few measurable areas for which I can base grades. Time invested equals progress made. My entire curriculum is centered on that equation and meant to maximize time spent practicing the medium. Proper technique established early allows the students to better use their increased freedom later in the semester to more successfully execute ideas that will be meaningful to them and relevant to an audience.
I make a point to always keep the “why” question an active part of every class: why a technique works, why colors behave a certain way, or why the student should care. The average engineering major, for example, might need a reminder that the creativity gained in a drawing course could be incredibly useful for visually manifesting ideas that would otherwise be abstract, disorganized thoughts. Art majors and non-art majors alike should know why the class they’re taking is relevant to them at that moment and in the future.
To sum it all up, I believe in a utilitarian approach that isn’t boring. I have to be organized and meticulous in the preparation and introduction of each course, so when it comes time to work through the curriculum, everyone can be focused, learn a bunch, and have fun—myself included.
-Elijah Van Benschoten