Teaching and "The Real Deal" book project
I decided to combine my teaching experience with my book project on this page because I feel they are very integrated. My book and the way I teach or share is very hands on and down to earth. I like to think both are practical and realistic. My book is titled "The Real Deal" for this reason. Both book and teaching style lack fluff or pomp. I rarely use expensive brushes, tools, or supplies in my real work so do not see why I should teach students or my crew to think this is an realistic industry approach. I focus instead on problem solving, flexibility, choosing battles,simple techniques, budgeting and time frames.
Forgive me while I briefly digress.
My approach to work and teaching comes from my many years experience and, I would like to note, my dyslexic brain. My daughter was diagnosed with dyslexia a couple years ago. The more I learn about it the more I recognise myself as a dyslexic...it all makes sense now. Numbers, names, spelling, slightly slower audio processing and reading speeds have always been my weak points, oh and I tend to make up words when tired or in a hurry (quite funny sometimes). Anyhow, I have found out these are all very typical dyslexic traits. My strengths are visual memory, story recall, problem solving, thinking outside the box, pulling people together/project unity, etc..I actually have been tested as having an above average I.Q. but rarely have I felt this notable when surrounded by traditional academia (also all very typical dyslexic traits)...and perhaps why I got into an creative field to begin with. I have learned that being dyslexic can actually be a blessing if strengths are nurtured. Studies say at least 20% of our population has some range of Dyslexia (learning/processing difference). There are many famous dyslexics most of them working in creative, scientific, or entrepreneur roles.
To list a few: Walt Disney, Tom Cruise, Jamie Oliver, Sir Richard Branson, Albert Einstein, Sir Richard Taylor, Ann Bancroft, Orlando Bloom, and Whoopi Goldburg.
I bring this up for I feel quite passionate about recognising and nurturing all student's strengths, some of which might not typically be recognised in traditional academia as strengths. I have seen students/people who could talk circles around others about theories and yet struggle to realise their concepts. I have seen some who can't spin a theory so well, but can create/realise a vision like no other. There is an important place in this world for both. My book is very much from this place too...it is not a formal format for I write like I think. Also, in it I shine the light on many people that typically do not get much credit in the film industry, even though they support so many important aspects of the creative industries.
Forgive me while I briefly digress.
My approach to work and teaching comes from my many years experience and, I would like to note, my dyslexic brain. My daughter was diagnosed with dyslexia a couple years ago. The more I learn about it the more I recognise myself as a dyslexic...it all makes sense now. Numbers, names, spelling, slightly slower audio processing and reading speeds have always been my weak points, oh and I tend to make up words when tired or in a hurry (quite funny sometimes). Anyhow, I have found out these are all very typical dyslexic traits. My strengths are visual memory, story recall, problem solving, thinking outside the box, pulling people together/project unity, etc..I actually have been tested as having an above average I.Q. but rarely have I felt this notable when surrounded by traditional academia (also all very typical dyslexic traits)...and perhaps why I got into an creative field to begin with. I have learned that being dyslexic can actually be a blessing if strengths are nurtured. Studies say at least 20% of our population has some range of Dyslexia (learning/processing difference). There are many famous dyslexics most of them working in creative, scientific, or entrepreneur roles.
To list a few: Walt Disney, Tom Cruise, Jamie Oliver, Sir Richard Branson, Albert Einstein, Sir Richard Taylor, Ann Bancroft, Orlando Bloom, and Whoopi Goldburg.
I bring this up for I feel quite passionate about recognising and nurturing all student's strengths, some of which might not typically be recognised in traditional academia as strengths. I have seen students/people who could talk circles around others about theories and yet struggle to realise their concepts. I have seen some who can't spin a theory so well, but can create/realise a vision like no other. There is an important place in this world for both. My book is very much from this place too...it is not a formal format for I write like I think. Also, in it I shine the light on many people that typically do not get much credit in the film industry, even though they support so many important aspects of the creative industries.
Teaching
Teaching feels like a very natural transition from my Scenic career. Learning and or problem solving then passing on information is an everyday occurrence when in charge of a crew. I have been very fortunate to have been brought into Toi Whakaari: NZ Drama School as a guest tutor for 5+yrs now. I enjoy it tremendously. Below I share some lesson examples.
Lesson Two: Color fundamentals, Mood, and Light playHere students look at a variety of set design aspects to create a Kuberick inspired set (designed by tutor Emma Ransley).
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Lesson One: Faux Finish TechniquesHere students play around with marble ,wood grain and blocking techniques.
Lesson Three: Basic Painting TechniquesDesign Professor Brian King came up with this project for his students and brings me in to teach it.
I love this project! It involves problem solving, color mixing, stradegies, and dissecting of a famous painters technique. Students look at how to reproduce a painting in a few days with whatever paints are available(usually house and set paints in the mix) They need to change 20% to make it theirs amongst other given challenges. |
Lesson Four: Scenic Painting Techniques
The students work with several other tutors to conceive and to construct a set. Then I step in to teach Scenic applications to achieve the look and feel they collectively designed. Here we made a set looked aged and ruined by a flood. Again only having a few days to learn and create. Limited time and budgets are a realistic challenge.
Work on my book: "The Real Deal"
I am hoping to finish then publish this book by end of this year. It is a collection of interviews, tips, techniques, and tales from my side of the film and entertainment industries. I feel it could aptly support my teaching career.