炮台山畫班 Nature Art Workshop | Tin Hau 天后畫班
Art Class Introduction
Registration Process and Requirements
All Classes are in Cantonese &/or English
所有的課程以 廣東話 和/或 英語教學
所有的課程以 廣東話 和/或 英語教學
Registration Process and Requirements
Michael Andrew Law's Nature Art Workshop caters to a range of skill levels, from art novices to students pursuing art degrees, and even full-time artists. We maintain a strict policy on class sizes to ensure quality instruction, so we do not admit all applicants. Before enrolling, we make sure to understand each student's learning goal(s) and requirements, which helps us tailor our course to meet those goals. We can discuss these details over a phone call or through WhatsApp.
What does 'learning goal' mean?
Learning goals can be diverse. They may involve what you aim to learn from the instructor, or challenges in painting you'd like to overcome. For beginners, they might be about mastering a certain style or emulating a particular artist's work. Even if your goal is simply to use painting as a way to relax, that's a valid learning objective too.
For more advanced learners, you can also align your learning goals with the following list of subjects:
For more advanced learners, you can also align your learning goals with the following list of subjects:
Areas of Teaching Expertise
藝術學科 Subjects
- 古典人像畫 Classical portraits
- 人體畫 Figures
- 風景畫 Landscapes or cityscape Art
- 抽象畫 Abstracts or expressive art
- 動漫繪畫 Comics and Mangas
- 當代繪畫 Contemporary Art
- 印象派繪畫 Impressionist Art
- 表現主義繪畫 Expressionist Art
After you've selected your course subject, the next step is to choose the materials or mediums you wish to work with:
藝術素材 Mediums
- 油畫 Oil Painting
- 塑膠彩繪畫 Acrylic Painting
- 水彩畫 Watercolour Painting
- 彩色鉛筆(木顏色) Colored Pencils
- 墨水筆/鋼筆畫 Ink Drawing
- 油性或者乾性粉彩 Pastels
- 數碼藝術 Digital Drawing / Painting
- iPad Procreate
- 人工智能藝術 A.I.(Artificial Intelligence) Art
Additional Teaching
and Service Areas Beyond Our Art Classes
升學及就業培訓指導 Tutoring and Art Business Training
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指導和幫助生意方面的範疇 Guidance and assistance in the areas of business and income
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Should you wish to add or switch subjects while enrolled in the course, that's completely fine. We can discuss the best way forward when the time comes.
What are your prerequisites for the course?
Learning prerequisites can vary. For instance, you might aim to master hyper-realistic portrait painting within a year, or you might plan to assemble a portfolio of works by next year. If you're looking for a more relaxed experience, you might want to learn at a slower pace. If you have any other specific requirements, feel free to share them with us. These are just some examples of what your learning prerequisites could look like.
What is the fee structure?
The cost is established after the initial consultation, where we set a mutual goal. We'll then discuss pricing for the tuition. Once we agree on a price that everyone finds suitable, we can proceed to schedule the class times.
How does the course unfold?
The course takes place at the Nature Art Workshop in Fortress Hill, under the instruction of Michael-Andrew Law, at a mutually agreed time. For those who are not based locally or are overseas, we offer Zoom sessions. As we've noted earlier, we'll discuss all the details together. We offer various teaching formats, including one-on-one or small group sessions (maximum of four students).
If this sounds like a good fit for you, feel free to continue the conversation with us on WhatsApp (+852 6444 7550). You can share your learning goals and requirements with the teacher.
只限預約, Walk-In 恕不招待, 敬請見諒
By Appointment Only, NO WALK-IN ALLOWED, SORRY.
By Appointment Only, NO WALK-IN ALLOWED, SORRY.
All Classes are in Cantonese &/or English
所有的課程以 廣東話 和/或 英語教學
我們亦提供親身講授On Site Lecturing
On Site Lecturing Booking Also Available .
Our YouTube Channel for Art Lectures
Click to see our Art Seminar YouTube Channel
Location views | 上課狀況
Free trial for art class? Two-person discount? Discount promotions? Free paint and art supplies?
Are you seeking art classes that offer a free trial, discounts for pairs, promotional offers, or complimentary paint and art supplies? Regardless of your reasons, these types of classes certainly have their merits. However, the competitive pricing model common in many art studios often leads to a compromise in the quality of teaching. Why is this so? I explain this in detail in the article below.
I understand that logic and reasoning often don't change the prevailing circumstances. But if you're interested in our studio's approach to high-quality, premium teaching, we owe you an explanation. Here is our story...
I understand that logic and reasoning often don't change the prevailing circumstances. But if you're interested in our studio's approach to high-quality, premium teaching, we owe you an explanation. Here is our story...
Why can inexpensive art studios sabotage your journey of learning to paint?
Picture this: in 2023, the average tuition for most art studios is around HKD $1,500 for four lessons, which equates to just over HKD $300 per lesson (and some may be even cheaper). If the tuition includes the majority of costs, such as materials, rent, advertising, and even payments to sub-lessors or studio owners, imagine how much the teachers themselves make per class, and how many students each teacher has to manage.
If you look at job advertisements for art studio instructors, most positions offer a monthly salary of around $10,000 to $20,000. Part-time positions pay roughly $100 to $200 per hour. Even though it's not minimum wage, let's assume a teacher has to manage eight students per class (usually, there would be more). If the teacher earns $200, each student's worth in the teacher's eyes is $25.
In their view, you or your children represent only a small income, merely ten or twenty dollars, which seems rather insignificant. How many students do they need to handle each week just to make ends meet? And that's not even considering the resources and effort they would need to invest in order to improve their teaching skills and attain success.
While I acknowledge that some businesses operate on small profits or thin margins, from a teaching quality perspective, you can gauge their level of teaching services. When you pay them such a negligible amount, you become a negligible customer. If we liken learning to buying street-side snacks, anyone, whether a tutor or a student's parent, who values education or art, would see an issue with this approach...
If you look at job advertisements for art studio instructors, most positions offer a monthly salary of around $10,000 to $20,000. Part-time positions pay roughly $100 to $200 per hour. Even though it's not minimum wage, let's assume a teacher has to manage eight students per class (usually, there would be more). If the teacher earns $200, each student's worth in the teacher's eyes is $25.
In their view, you or your children represent only a small income, merely ten or twenty dollars, which seems rather insignificant. How many students do they need to handle each week just to make ends meet? And that's not even considering the resources and effort they would need to invest in order to improve their teaching skills and attain success.
While I acknowledge that some businesses operate on small profits or thin margins, from a teaching quality perspective, you can gauge their level of teaching services. When you pay them such a negligible amount, you become a negligible customer. If we liken learning to buying street-side snacks, anyone, whether a tutor or a student's parent, who values education or art, would see an issue with this approach...
Three reasons showing why budget-friendly art classes do more harm than good to students.
Competing on price alone is not a good strategy for art class studios, for both the studios themselves and the parents or students. Here's why:
Lowering Quality: When art studios lower their prices to compete, they often have to cut costs elsewhere to keep making a profit. This usually means the quality of the instruction goes down. Teachers might not be as qualified or dedicated, there might be less training for teachers, and there's likely less money for quality materials.
Too Many Students, Not Enough Attention: Cheap classes will attract a lot of students. This can mean each student doesn't get the attention they need, as the main focus is getting more students in the door, not providing each student with a quality experience.
Unsustainable Business Model: Low prices can lead to a challenging business model. Studios have to focus on getting as many students as possible, and other important aspects, like quality instruction, are forgotten. Over time, this can lead to the perception that art classes aren't valuable and aren't worth paying more for.
Several studies support the idea that competing on price alone isn't good for service providers or customers. For example, a study by McKinsey & Company found this kind of competition can lead to lower customer satisfaction and loyalty. Also, a survey by the American Institute of Certified Public Accountants (AICPA) found that small businesses competing on price alone often have financial difficulties and lower profits.
In summary, while a low-price strategy might work for some businesses, it's not a good fit for education-based services like art classes. It can lead to a decrease in quality and an unsustainable business model. It's better to focus on providing quality instruction and a good experience for students.
Lowering Quality: When art studios lower their prices to compete, they often have to cut costs elsewhere to keep making a profit. This usually means the quality of the instruction goes down. Teachers might not be as qualified or dedicated, there might be less training for teachers, and there's likely less money for quality materials.
Too Many Students, Not Enough Attention: Cheap classes will attract a lot of students. This can mean each student doesn't get the attention they need, as the main focus is getting more students in the door, not providing each student with a quality experience.
Unsustainable Business Model: Low prices can lead to a challenging business model. Studios have to focus on getting as many students as possible, and other important aspects, like quality instruction, are forgotten. Over time, this can lead to the perception that art classes aren't valuable and aren't worth paying more for.
Several studies support the idea that competing on price alone isn't good for service providers or customers. For example, a study by McKinsey & Company found this kind of competition can lead to lower customer satisfaction and loyalty. Also, a survey by the American Institute of Certified Public Accountants (AICPA) found that small businesses competing on price alone often have financial difficulties and lower profits.
In summary, while a low-price strategy might work for some businesses, it's not a good fit for education-based services like art classes. It can lead to a decrease in quality and an unsustainable business model. It's better to focus on providing quality instruction and a good experience for students.
An In-depth Analysis of Low-Cost Art Studio Operations
Some people, from good intentions, might think, since they want so many students, wouldn't they automatically improve the quality of teaching? This is a good intention indeed,
But think about it yourself, it's not feasible in science. Let's imagine how it's usually operated. Consider an art studio which is average and has been running for a while, with 150 students learning. If every student pays 350 HKD per lesson, then the revenue for a month should be 210,000 HKD, right? Of course not.
Firstly, it's almost impossible that there won't be any students taking sick leave, personal leave, canceling, or postponing in a month. Let's assume that absences account for 20% of total attendance, so the revenue is already less by over 40,000 HKD. With 150 students in this art studio, how many people can the place accommodate for a class?
It's impossible that every day there would be three to four full classes. Usually, classes would be full during after-school hours or weekends, or we would have to wait for the summer holidays. Assuming that an art studio can accommodate 20 students (of course, it can't be full every day), then a space of at least 500 square feet is needed. Then, if there are three class periods over the entire weekend, there would be about 100 attendances. The rest would be during normal periods. If this is a 600 square feet place, half a floor up in the city or in a shopping mall, the minimum rent should be 40,000 HKD? (I have underestimated the rent here),
So, 168,000 HKD - 40,000 HKD = 128,000 HKD
Then you need to do promotion and marketing activities, which usually cost at least 5,000 HKD. Of course, planning promotional activities might require additional teachers and assistants, which could bring the cost up to 20,000 HKD. Let's assume we spend 5,000 HKD for now.
Then there are the costs of paint, drawing tools, canvas, paper, craft supplies, tissues, cleaning supplies, towels... all sorts of consumables. Usually, to accommodate 100 students per month, an average of around 5,000 HKD is spent on consumables.
Don't forget that typically, such studios also need to spend some money on renovation, equipment purchase and so on. Of course, this is long-term debt. Here, we can assume that the monthly bank loan repayment is 8,000 HKD (can it be this low?).
So, the remaining amount is 110,000 HKD.
Yes, but we haven't calculated the 20% student loss per month, which is approximately another 40,000 HKD.
So, 110,000 HKD - 40,000 HKD = 70,000 HKD
Electricity costs about 2,000 HKD? Depending on the situation.
So, only 68,000 HKD remains.
Now comes the most crucial part: how many teachers does a studio with 150 students need? Let's say there are only two teachers (two teachers handling 150 students?). First, let's discuss how much a teacher should earn. This is where the industry gets tricky. The law basically stipulates that you only need to pay the minimum wage. Of course, not many studios would really pay teachers the minimum wage (there are indeed some, I experienced this when I was young). Then does the studio give teachers a fixed salary? Of course, there is. I was once personally called by a headhunting company offering a monthly salary of about 40,000 HKD. You might think, this is really not bad. Of course, since the company pays you 40,000 HKD, they often expect you to work from 8 AM to 11 PM and be able to earn 500,000 HKD a month for them, right?
Firstly, for these 150 students, if it's a split-account model, would the boss give the teacher 50%? Don't joke... So are you saying that two teachers split 100,000 HKD (the recorded income)? Of course, that's impossible... So how much should it be? 30%? So each teacher gets about 30,000 HKD? Sometimes this might be possible. It seems like a decent income, but I would be more curious whether this teacher is purely responsible for teaching and doesn't need to do any work beyond teaching? Let's leave a question mark here.
If you look at the recruitment ads for art studio instructors, most of them offer a monthly salary of about 10,000 to 15,000 HKD, with part-time hourly wages of around 100 to 200 HKD. Although it's not the minimum wage, assume this kind of teacher only needs to deal with eight students per class. If the teacher receives 200 HKD, each student is just 25 HKD. In his or her eyes, you or your child is just this insignificant amount.
Some studios give a fixed salary. Many instructors feel like they've struck gold if they get a monthly salary of 20,000 HKD from a studio. Of course, as I said, the boss naturally hopes that if they hire you for 20,000 HKD, you should do a job worth 200,000 HKD. This type of teacher should not only show up during class time but also needs to do other clerical work, even watch the shop, answer phone calls, update social media, do outreach activities, etc. Sometimes lifting and carrying is also inevitable...
Assuming each teacher is paid 20,000 HKD, then two teachers would cost 40,000 HKD.
But think about it, can two teachers really handle 150 students? So if it's three teachers, that would be 60,000 HKD? Could it be two teachers and one assistant? If the assistant is paid 8,000 HKD, that comes to 48,000 HKD.
68,000 HKD - 48,000 HKD = 20,000 HKD remaining.
Additionally, art studios often need to hire someone for cleaning, maintaining, and repairing other equipment, and occasionally updating or adding new equipment. When teachers take personal or sick leave, temporary workers need to be hired to cover. Furthermore, in Hong Kong, it's almost unheard of to see a rent reduction.
Now imagine, if this art studio also offers free trial classes (which instantly consumes the teacher's time and company resources without compensation), gives students/parents discounts, and even gives away gifts like art supplies, etc... These are expenses that were not calculated above.
So, what does the owner live on? Another scenario is that the owner is also a teacher. In that case, one less teacher would need to be hired, right? This would indeed save a couple of ten thousand dollars, but this means the owner's workload is quite heavy. It's also possible that the teacher and assistant are responsible for the studio's administration.
But this also indirectly proves that teachers and assistants are indeed exploited as cheap labor. At the same time, you will notice one thing: if teachers have this kind of salary, they are unlikely to be hired on a part-time basis. Not to mention whether this would demotivate them, but how much time would they have for further education and considering their own artistic aspirations? So, in the end, this art studio still cannot escape the problems mentioned in this article:
The entire art studio business revolves around these figures that trouble the operator. Each student is like a customer visiting a snack shop, one of 150, a speck of dust in the giant wheel that is the business of running an art studio. Unless more resources are invested in teachers, there is no way to meet the needs of every student in the end. I have just described the whole business of an art studio to you, so what role do you think your child or you play in this giant wheel of business?
But think about it yourself, it's not feasible in science. Let's imagine how it's usually operated. Consider an art studio which is average and has been running for a while, with 150 students learning. If every student pays 350 HKD per lesson, then the revenue for a month should be 210,000 HKD, right? Of course not.
Firstly, it's almost impossible that there won't be any students taking sick leave, personal leave, canceling, or postponing in a month. Let's assume that absences account for 20% of total attendance, so the revenue is already less by over 40,000 HKD. With 150 students in this art studio, how many people can the place accommodate for a class?
It's impossible that every day there would be three to four full classes. Usually, classes would be full during after-school hours or weekends, or we would have to wait for the summer holidays. Assuming that an art studio can accommodate 20 students (of course, it can't be full every day), then a space of at least 500 square feet is needed. Then, if there are three class periods over the entire weekend, there would be about 100 attendances. The rest would be during normal periods. If this is a 600 square feet place, half a floor up in the city or in a shopping mall, the minimum rent should be 40,000 HKD? (I have underestimated the rent here),
So, 168,000 HKD - 40,000 HKD = 128,000 HKD
Then you need to do promotion and marketing activities, which usually cost at least 5,000 HKD. Of course, planning promotional activities might require additional teachers and assistants, which could bring the cost up to 20,000 HKD. Let's assume we spend 5,000 HKD for now.
Then there are the costs of paint, drawing tools, canvas, paper, craft supplies, tissues, cleaning supplies, towels... all sorts of consumables. Usually, to accommodate 100 students per month, an average of around 5,000 HKD is spent on consumables.
Don't forget that typically, such studios also need to spend some money on renovation, equipment purchase and so on. Of course, this is long-term debt. Here, we can assume that the monthly bank loan repayment is 8,000 HKD (can it be this low?).
So, the remaining amount is 110,000 HKD.
Yes, but we haven't calculated the 20% student loss per month, which is approximately another 40,000 HKD.
So, 110,000 HKD - 40,000 HKD = 70,000 HKD
Electricity costs about 2,000 HKD? Depending on the situation.
So, only 68,000 HKD remains.
Now comes the most crucial part: how many teachers does a studio with 150 students need? Let's say there are only two teachers (two teachers handling 150 students?). First, let's discuss how much a teacher should earn. This is where the industry gets tricky. The law basically stipulates that you only need to pay the minimum wage. Of course, not many studios would really pay teachers the minimum wage (there are indeed some, I experienced this when I was young). Then does the studio give teachers a fixed salary? Of course, there is. I was once personally called by a headhunting company offering a monthly salary of about 40,000 HKD. You might think, this is really not bad. Of course, since the company pays you 40,000 HKD, they often expect you to work from 8 AM to 11 PM and be able to earn 500,000 HKD a month for them, right?
Firstly, for these 150 students, if it's a split-account model, would the boss give the teacher 50%? Don't joke... So are you saying that two teachers split 100,000 HKD (the recorded income)? Of course, that's impossible... So how much should it be? 30%? So each teacher gets about 30,000 HKD? Sometimes this might be possible. It seems like a decent income, but I would be more curious whether this teacher is purely responsible for teaching and doesn't need to do any work beyond teaching? Let's leave a question mark here.
If you look at the recruitment ads for art studio instructors, most of them offer a monthly salary of about 10,000 to 15,000 HKD, with part-time hourly wages of around 100 to 200 HKD. Although it's not the minimum wage, assume this kind of teacher only needs to deal with eight students per class. If the teacher receives 200 HKD, each student is just 25 HKD. In his or her eyes, you or your child is just this insignificant amount.
Some studios give a fixed salary. Many instructors feel like they've struck gold if they get a monthly salary of 20,000 HKD from a studio. Of course, as I said, the boss naturally hopes that if they hire you for 20,000 HKD, you should do a job worth 200,000 HKD. This type of teacher should not only show up during class time but also needs to do other clerical work, even watch the shop, answer phone calls, update social media, do outreach activities, etc. Sometimes lifting and carrying is also inevitable...
Assuming each teacher is paid 20,000 HKD, then two teachers would cost 40,000 HKD.
But think about it, can two teachers really handle 150 students? So if it's three teachers, that would be 60,000 HKD? Could it be two teachers and one assistant? If the assistant is paid 8,000 HKD, that comes to 48,000 HKD.
68,000 HKD - 48,000 HKD = 20,000 HKD remaining.
Additionally, art studios often need to hire someone for cleaning, maintaining, and repairing other equipment, and occasionally updating or adding new equipment. When teachers take personal or sick leave, temporary workers need to be hired to cover. Furthermore, in Hong Kong, it's almost unheard of to see a rent reduction.
Now imagine, if this art studio also offers free trial classes (which instantly consumes the teacher's time and company resources without compensation), gives students/parents discounts, and even gives away gifts like art supplies, etc... These are expenses that were not calculated above.
So, what does the owner live on? Another scenario is that the owner is also a teacher. In that case, one less teacher would need to be hired, right? This would indeed save a couple of ten thousand dollars, but this means the owner's workload is quite heavy. It's also possible that the teacher and assistant are responsible for the studio's administration.
But this also indirectly proves that teachers and assistants are indeed exploited as cheap labor. At the same time, you will notice one thing: if teachers have this kind of salary, they are unlikely to be hired on a part-time basis. Not to mention whether this would demotivate them, but how much time would they have for further education and considering their own artistic aspirations? So, in the end, this art studio still cannot escape the problems mentioned in this article:
The entire art studio business revolves around these figures that trouble the operator. Each student is like a customer visiting a snack shop, one of 150, a speck of dust in the giant wheel that is the business of running an art studio. Unless more resources are invested in teachers, there is no way to meet the needs of every student in the end. I have just described the whole business of an art studio to you, so what role do you think your child or you play in this giant wheel of business?
How can we assess the quality of a tutor?
Firstly, it's important to note that there are countless people who hold degrees or diplomas in art courses, similar to the stars in the sky. Even the renowned artist of our era, Takashi Murakami, stated in his book "Art Battle Theory" (ISBN：9789868676411), in Chapter 4, Section 21, that "Art and academics are entirely unrelated". The quantity of a tutor's degrees or diplomas simply reflects their aptitude for studying or taking exams. However, there may also be instances where individuals with high academic scores may not necessarily be competent. If we are to discuss a tutor's quality, it is crucial to understand the expectations that the tutorhas for their own career and accomplishments as an art tutor and artist.
Most art studio tutors are likely individuals who are passionate about painting and even aspire to become full-time artists. This is akin to how most sports coaches are individuals who once hoped to become successful athletes. Becoming a full-time artist, implying that the income is entirely derived from art and can sustain a living, is a minority. Many renowned artists abroad also commonly engage in teaching (in universities, art colleges, or private tutoring). Thus, teaching art classes is also a source of income for those involved in art. There's nothing wrong with this, so the question becomes, how do we discern which artist tutor possesses high-quality qualifications?
When it comes to a tutor's teaching ability, firstly, the teacher needs to be capable of communicating with you effectively, and both of you understand each other. You shouldn't dislike them, and they shouldn't dislike you. If this cannot be achieved, everything else is futile.
Then comes the extent of the teacher's understanding of art, which is tough to reflect through degrees and diplomas. Why is this the case?
This is because the understanding of art by most art class tutors is often confined to the knowledge they acquired in school or their personal preferences. This results in their ability to teach only a handful of styles or theories, and they falter when they step outside these styles or theories. For instance, some tutors might be fond of abstract painting, making it almost impossible for you to learn to paint a decent realistic painting with them. Some tutors might only enjoy painting landscapes and still lifes, leaving you at a standstill if you wish to paint portraits. Some tutors might focus entirely on studying Impressionism, rendering them completely incapable of teaching you the KAWS style in contemporary art or sharing with you the creative tips of the KAWS style...
Does the tutor pay attention to the problems you raise, and can they solve the problems you raise?
Assuming the tutor possesses the ability and knowledge, the question then becomes whether they are willing to pay attention to the problems you raise and dedicate time to guide and assist you until you can surmount your problems. If the art class is overcrowded, leading to the tutor's inability to attend to everyone, the learning progress has to be extended. Another possibility is that the tutor possesses an artist's personality, essentially not caring about your problems and only wanting you to follow their instructions. Of course, if the tutor themselves lack superior skills and knowledge, everything becomes greatly discounted.
A tutor who genuinely cares about students usually strives to improve their teaching abilities more consciously. They can learn and grow from student interactions and strive to find diverse methods and strategies to assist students in learning, solving problems, and making progress.
How should we assess a painting tutor's demand for self-improvement?
Experience and Education: A seasoned and qualified tutor will typically display a high demand for self-improvement, regularly evaluating their strengths and weaknesses, and identifying areas that require improvement. They reflect and set goals to enhance their art teaching abilities, art knowledge, and even their accomplishments in their art career. They continually pursue further art education, ceaselessly learning to maintain professional skills and stay abreast of the latest developments in art and painting knowledge. If the tutor is also a practicing artist, they will usually seek new painting creation techniques, increase available media, and research styles, continuously innovating and experimenting with their range of works. They will participate in various art exhibitions, workshops, and seminars, exchange ideas with artists more advanced than themselves, and learn new techniques and concepts.
Most art studio tutors are likely individuals who are passionate about painting and even aspire to become full-time artists. This is akin to how most sports coaches are individuals who once hoped to become successful athletes. Becoming a full-time artist, implying that the income is entirely derived from art and can sustain a living, is a minority. Many renowned artists abroad also commonly engage in teaching (in universities, art colleges, or private tutoring). Thus, teaching art classes is also a source of income for those involved in art. There's nothing wrong with this, so the question becomes, how do we discern which artist tutor possesses high-quality qualifications?
When it comes to a tutor's teaching ability, firstly, the teacher needs to be capable of communicating with you effectively, and both of you understand each other. You shouldn't dislike them, and they shouldn't dislike you. If this cannot be achieved, everything else is futile.
Then comes the extent of the teacher's understanding of art, which is tough to reflect through degrees and diplomas. Why is this the case?
This is because the understanding of art by most art class tutors is often confined to the knowledge they acquired in school or their personal preferences. This results in their ability to teach only a handful of styles or theories, and they falter when they step outside these styles or theories. For instance, some tutors might be fond of abstract painting, making it almost impossible for you to learn to paint a decent realistic painting with them. Some tutors might only enjoy painting landscapes and still lifes, leaving you at a standstill if you wish to paint portraits. Some tutors might focus entirely on studying Impressionism, rendering them completely incapable of teaching you the KAWS style in contemporary art or sharing with you the creative tips of the KAWS style...
Does the tutor pay attention to the problems you raise, and can they solve the problems you raise?
Assuming the tutor possesses the ability and knowledge, the question then becomes whether they are willing to pay attention to the problems you raise and dedicate time to guide and assist you until you can surmount your problems. If the art class is overcrowded, leading to the tutor's inability to attend to everyone, the learning progress has to be extended. Another possibility is that the tutor possesses an artist's personality, essentially not caring about your problems and only wanting you to follow their instructions. Of course, if the tutor themselves lack superior skills and knowledge, everything becomes greatly discounted.
A tutor who genuinely cares about students usually strives to improve their teaching abilities more consciously. They can learn and grow from student interactions and strive to find diverse methods and strategies to assist students in learning, solving problems, and making progress.
How should we assess a painting tutor's demand for self-improvement?
Experience and Education: A seasoned and qualified tutor will typically display a high demand for self-improvement, regularly evaluating their strengths and weaknesses, and identifying areas that require improvement. They reflect and set goals to enhance their art teaching abilities, art knowledge, and even their accomplishments in their art career. They continually pursue further art education, ceaselessly learning to maintain professional skills and stay abreast of the latest developments in art and painting knowledge. If the tutor is also a practicing artist, they will usually seek new painting creation techniques, increase available media, and research styles, continuously innovating and experimenting with their range of works. They will participate in various art exhibitions, workshops, and seminars, exchange ideas with artists more advanced than themselves, and learn new techniques and concepts.
Why choose Teacher Michael Andrew Law?
Depth and diversity of knowledge: As a contracted gallery artist himself, Michael Andrew Law has a wealth of art knowledge, including publishing over ten academic works related to art (click here to view), holding lectures on art history and art theory (click here to view), and being a collector of contemporary art himself (click here to view). He continually researches the most cutting-edge art knowledge and techniques (click here to view), and also has over 20 years of diverse art teaching experience. He has conducted research and creation work in multiple countries and regions, and has participated in numerous major art projects, art museum and gallery exhibitions, and events (click here to view). His work has been collected privately and in museums by collectors in over 20 countries (click here to view).
Student care and respect: With a limited number of students, most of the classes are kept small or one-on-one. Mr. Law's primary concern is the learning goals set by each student, spending most of the time understanding and following up on the difficulties and needs encountered by students. The main goal of the class is to set a timetable for each student to enhance learning and progress, and to provide personalized guidance and support for each student.
Problem-solving and innovation: The relatively high tuition fees also ensure that the class can use more flexible equipment and methods to solve learning problems, while also ensuring the diversity of learning innovative art techniques, without the need to compromise on quality due to cost limitations like most local art classes.
Continuing professional development: Michael Andrew Law continues to learn and develop professionally. He constantly updates his teaching knowledge and skills, and shares experiences with his colleagues. He also often participates in art exhibitions and events to gain more art inspiration and experience.
Student care and respect: With a limited number of students, most of the classes are kept small or one-on-one. Mr. Law's primary concern is the learning goals set by each student, spending most of the time understanding and following up on the difficulties and needs encountered by students. The main goal of the class is to set a timetable for each student to enhance learning and progress, and to provide personalized guidance and support for each student.
Problem-solving and innovation: The relatively high tuition fees also ensure that the class can use more flexible equipment and methods to solve learning problems, while also ensuring the diversity of learning innovative art techniques, without the need to compromise on quality due to cost limitations like most local art classes.
Continuing professional development: Michael Andrew Law continues to learn and develop professionally. He constantly updates his teaching knowledge and skills, and shares experiences with his colleagues. He also often participates in art exhibitions and events to gain more art inspiration and experience.
You can mix and match (if you have any questions or need suggestions, please inquire via Whatsapp).
(+852 6444 7550)
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The course has been designed by the renowned contemporary artist Michael Andrew Law, based on Leonardo Da Vinci's notebooks (The Notebooks of Leonardo Da Vinci Isbn-10 : 1135163790) and 20 years of comprehensive study of traditional Italian fine art teaching, combined with contemporary aesthetics, and research into Bachelor's and Master's courses at Falmouth University, Surrey Institute of Art & Design University College, Ravensbourne College of Design and Communication, University of Southampton, University of Hertfordshire, De Montfort University, Goldsmiths, and more.
The curriculum is divided into seven levels, fully covering realistic skills training from the Renaissance to the early 19th century, to Modern Art, Contemporary Art, various expressionisms, and popular aesthetics. The courses are mainly divided into portrait, still life, landscape, cartoon, abstract art, and students can choose one or mix and match.
Different painting materials such as oil painting, acrylic, watercolor, sketching or digital media such as iPad, Photoshop, A.I. artificial intelligence art, etc., can also be matched.
In addition, we also teach how to create the most effective secondary/high school, university, and aspiring artist portfolios, as well as how to create like a professional artist/designer and how to sell art. We also have a problem-solving section aimed at resolving immediate difficulties encountered in creation/techniques.
The curriculum is divided into seven levels, fully covering realistic skills training from the Renaissance to the early 19th century, to Modern Art, Contemporary Art, various expressionisms, and popular aesthetics. The courses are mainly divided into portrait, still life, landscape, cartoon, abstract art, and students can choose one or mix and match.
Different painting materials such as oil painting, acrylic, watercolor, sketching or digital media such as iPad, Photoshop, A.I. artificial intelligence art, etc., can also be matched.
In addition, we also teach how to create the most effective secondary/high school, university, and aspiring artist portfolios, as well as how to create like a professional artist/designer and how to sell art. We also have a problem-solving section aimed at resolving immediate difficulties encountered in creation/techniques.
青少年及成人畫班老師
Teacher Michael Andrew Law: For the art portfolio, please see http://michaelandrewlaw.com/
In his early years, he visited many European and American oil painting academies/private studios, including those of Italian-American painter Joseph Sheppard, New York painter Howard Kanovitz, and Italian-American painter Danny Anderson for traditional academy-style oil painting training. His work, which fuses modern contemporary styles with realism, has been praised by many famous painters and art review magazines (including: Dr. Denis Peterson, Kevin Eastman, Simon Hennessey).
Art Education:
Graduated from Dr. Dan Anderson's Classical Realism Oil Painting Studio
Internship at Dr. Dan Anderson's Oil Painting Studio
Diploma in Film Production from THE HOLLYWOOD FILM INSTITUTE
Independent Producer Certificate from THE HOLLYWOOD FILM INSTITUTE
His work "Study of Medici Plaster" was used as promotional material for the social art level examination activity of the China Academy of Art that year.
He has taught at well-known groups/schools including Bacon College, Bosco Youth Organization, YMCA. Michael Andrew Law's works have been exhibited, auctioned, and ordered in Europe and Asia many times, and have been collected by many well-known groups (including: Catholic Diocese of Hong Kong, Fisheries Department, DeviantArt), business and political celebrities, and covered by media including Gong Jiao Bao Yellow Bus, Washington Chinese Television, Heavy-Metal magazine, and Hong Kong Television. He later studied film art and graduated from HFI (Weddington, Los Angeles, CA 90048) Hollywood Film Academy with a diploma in production.
His published works include 20 color art collections by Michael Andrew Law, and 6 monochrome drawing/sketch textbooks. He has also published DVD/Blu-Ray discs "10 Minutes Art School", and "My Life, My Story".
Michael Andrew Law has been engaged in international visual art teaching for many years. His students come from all ages, nationalities, and occupations. Within two years, hundreds of students in the portfolio course guided by Michael Andrew have successfully entered international colleges. Michael Andrew's philosophy is to simplify the complex, aiming to use information and skills in a short time to enable students to achieve [do it at home by themselves], and regularly hold art career further education lectures, teaching students how to market their works and skills, and start their own art business.
In his early years, he visited many European and American oil painting academies/private studios, including those of Italian-American painter Joseph Sheppard, New York painter Howard Kanovitz, and Italian-American painter Danny Anderson for traditional academy-style oil painting training. His work, which fuses modern contemporary styles with realism, has been praised by many famous painters and art review magazines (including: Dr. Denis Peterson, Kevin Eastman, Simon Hennessey).
Art Education:
Graduated from Dr. Dan Anderson's Classical Realism Oil Painting Studio
Internship at Dr. Dan Anderson's Oil Painting Studio
Diploma in Film Production from THE HOLLYWOOD FILM INSTITUTE
Independent Producer Certificate from THE HOLLYWOOD FILM INSTITUTE
His work "Study of Medici Plaster" was used as promotional material for the social art level examination activity of the China Academy of Art that year.
He has taught at well-known groups/schools including Bacon College, Bosco Youth Organization, YMCA. Michael Andrew Law's works have been exhibited, auctioned, and ordered in Europe and Asia many times, and have been collected by many well-known groups (including: Catholic Diocese of Hong Kong, Fisheries Department, DeviantArt), business and political celebrities, and covered by media including Gong Jiao Bao Yellow Bus, Washington Chinese Television, Heavy-Metal magazine, and Hong Kong Television. He later studied film art and graduated from HFI (Weddington, Los Angeles, CA 90048) Hollywood Film Academy with a diploma in production.
His published works include 20 color art collections by Michael Andrew Law, and 6 monochrome drawing/sketch textbooks. He has also published DVD/Blu-Ray discs "10 Minutes Art School", and "My Life, My Story".
Michael Andrew Law has been engaged in international visual art teaching for many years. His students come from all ages, nationalities, and occupations. Within two years, hundreds of students in the portfolio course guided by Michael Andrew have successfully entered international colleges. Michael Andrew's philosophy is to simplify the complex, aiming to use information and skills in a short time to enable students to achieve [do it at home by themselves], and regularly hold art career further education lectures, teaching students how to market their works and skills, and start their own art business.
Children Class Tutor | 兒童畫班老師
Michelle Yu Ting Yan
Teacher Michelle Y. (Registered Teacher in Hong Kong) graduated from Indiana University in the United States and holds an English Education Diploma from the University of Hong Kong. After returning to Hong Kong, she planned several Graphic Design projects and has rich experience in teaching students with special learning needs.
Michelle Y. 老師 (香港註冊教師) 畢業於美國印第安那大學，香港大學英語教育文憑，回港後曾經策劃多個Graphic Design項目 ，富有教導特殊學習需要的學生經驗。
Michelle Y. 老師 (香港註冊教師) 畢業於美國印第安那大學，香港大學英語教育文憑，回港後曾經策劃多個Graphic Design項目 ，富有教導特殊學習需要的學生經驗。
訂閱我們的Youtube頻道
Teacher's Art | 老師作品
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羅卓睿老師的出版著作 |Publication and Books by Michael Andrew Law
Press | 傳媒報道
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(+852 6444 7550)
(+852 6444 7550)